Online book reading twelfth night or whatever? twelfth night, or what you will “twelfth night, or whatever. "Twelfth Night, or Anything?", An artistic analysis of the comedy by William Shakespeare

Comedy "Twelfth Night, or Whatever" (summary) was written in 1623. Below is a summary of this immortal play. All the action takes place in the fabulous country of Illyria. Orsino, Duke of Illyria, is hopelessly in love with Countess Olivia, who is in mourning after her brother's death, and does not want to hear anything about love. Then the duke decides to send to Olivia Cesario, a young man whom he recently accepted into the service, but already managed to appreciate his devotion, so that he would tell the young countess about the love felt by the duke. Orsino does not know that the young man Cesario is actually a girl named Viola. The ship she was on with her twin brother was wrecked off the coast of Illyria. There is a hope in her heart that her brother also managed to escape.

She entered the service of the duke, dressed in a man's dress, and she herself managed to fall in love with Orsino, so it will not be easy for her to carry out the instructions of the duke. Olivia's uncle, Sir Toby Balch, thinks his niece's mourning is too long. He himself is a dashing reveler who loves to feast. And now he persuaded to stay at a party for another month one knight by the name of Sir Andrew Egyuchik, to whom he promises to give his niece to wife. During a conversation with Countess Olivia, Viola paints all the virtues of the duke in colors.

Olivia agrees that he is a very worthy husband, but, at the same time, is absolutely fascinated by Viola herself, dressed in a man's dress. She persuades Viola to accept a ring from her as a gift. Sebastian, Viola's brother, who was saved by Captain Antonio, appears in Illyria to find his sister if she is still alive. Antonio decides to secretly follow Sebastian to protect the young man from possible trouble. Maria, who is tired of the arrogant butler Malvolio, decides to fool him by writing a letter of declaration of love on behalf of Olivia, thereby exposing the insolent person to universal ridicule. Orsino, suffering from hopeless love for Olivia, does not believe the assurances of the imaginary young man Cesario that a woman's love can be as strong as his own, unaware that Viola is talking about her love for him. Sir Toby finds Mary's trick delightful. He amuses himself a lot, overhearing the butler out loud dreaming of marriage with his mistress and how he will put Sir Toby himself in the future in the future. Maria decides to continue to make fun of the butler, tossing him letters with instructions on how to behave. Sir Toby is delighted with both Mary's antics, and the girl herself.

In the garden, Viola, Olivia and the jester exchange wit. Olivia becomes more and more delighted with the "boy". Sir Andrew is offended by the fact that Olivia prefers the company of a servant, not a master, and then Sir Toby invites his guest to challenge the impudent youth to a duel. Antonio meets with Sebastian in the city and explains why he cannot follow him openly. They might recognize him. He took part in a battle with the duke's galleys and was victorious. Antonio gives Sebastian some contingency money, and they agree to meet in an hour at the inn. The stupidly smiling butler Malvolio flirts with Olivia, quoting her, allegedly, her own love letters. Olivia decides that the servant has lost his mind, and entrusts Sir Toby to take care of the unfortunate.

Sir Toby makes fun of the butler and locks him in the closet. He then takes turns talking to "Caesario" - Viola and Sir Andrew about how strong each opponent is in swordsmanship. When the duelists, pale with horror, draw their swords, Captain Antonio intervenes in their fight, who mistook Viola for Sebastian, and begins to fight Sir Toby. Antonio is arrested. He asks Viola to return his wallet with coins. He is outraged that the man whom he saved his life regrets to give money, which now, in prison, Antonio himself will be useful. Viola realizes that she was confused with her brother, and rejoices at his salvation. Sir Andrew on the street decides to get even with his timid opponent, he slaps him in the face, thinking that Caesario is in front of him. But this is not Viola, but her brother Sebastian, who bravely accepts the fight. Olivia ends the fight and leads Sebastian into the house, thinking that Caesario is in front of her. There she invites the young man to get engaged.

Sebastian agrees. He also liked Olivia. He would like to tell Antonio everything, but the captain has disappeared somewhere. The duke's jester, heeding the butler's pleas, brought writing materials into his closet. Viola and the Duke of Orsino are waiting in front of Olivia's house to talk with her. Antonio is led by, in whom Viola recognizes his savior, and Orsino - a daring pirate. Olivia leaves the house to accuse "Caesario" of infidelity and to reject the duke. The priest had married Olivia and Caesario a couple of hours ago. Orsino is shocked. Viola-Cesario tries to convince the duke that he (she) does not need female love, that only he, the duke, is in his (her) heart. At this point, Sir Andrew and Sir Toby appear, complaining about Cesario, who beat them up. Sebastian comes out behind them.

He notices Antonio and rushes to him. The Duke of Orsino and Captain Antonio are shocked by the outward resemblance of the twins. Brother and sister throw themselves into each other's arms. The duke, who realized that a girl was in love with him, to whom he had become very attached while he considered her a young man, finally consoled himself. From now on, Olivia will become his sister. He can't wait to see Viola in a woman's dress. The butler explains to everyone his strange behavior, but no one punishes him, like Mary, whom Sir Toby nevertheless married.

Translated by M.L. Lozinsky

CHARACTERS:

Orsino, Duke of Illyrian. Sebastian, Viola's brother. Antonio, captain of the ship, friend of Sebastian. Captain of the ship, friend of Viola. Valentine | ) confidants of the duke. Curio | Sir Toby Belch, Olivia's uncle. Sir Andrew Egyuchik. Malvolio, Olivia's butler. Fabian | ) Olivia's servants. Feste, Jester | Olivia. Viola. Maria, Olivia's maid. Nobles, priests, sailors, bailiffs, musicians and other confidants. Scene: a city in Illyria and the seashore nearby.

ACT I

SCENE 1

A room in the ducal palace. Enter Duke, Curio, and other nobles; musicians. Duke Love is nourished with music; play Generously, beyond measure, so that, in satiety, Desire, tired, becomes exhausted. That song again! The one who died away. Ah, he caressed my ear, like a sweet sound, Which, all over the ridge of violets, Steals and gives waves of aroma. Enough. No - he was gentler once. Oh spirit of love, how fresh and light you are! Although you contain everything, like the sea, Nothing in your depth descends, No matter how highly valuable it may be, Without depreciating at the same moment! Dreaming is so rich in magic, That only it is truly magical. Curio Will you hunt, my duke? Duke For whom, my Curio? Curio Na doe. Duke Am I not myself now, like a hunted beast? When I met Olivia for the first time, All the air seemed to be clean from filth! At that very moment I was turned into a deer, And since then I, like evil dogs, Squeeze desires. (Enter Valentine.) What she said? Valentine My sir, I was not allowed; But with the girl the following answer was given: Another seven sultry years and the very air of Her face will not see open; Under the canopy of a blueberry, day after day, She will sprinkle her abode with Flammable moisture of tears; let not the dead love decay Sibling, But it will remain fresh in the mournful thought. Duke Oh, if this heart, even to a brother, So tenderly pays the debt of love, then how will She fall in love, if the golden arrow Cuts down the whole flock of other feelings Living in her; and the liver, brain and heart, the Supreme Thrones of perfection, the One will be occupied by the king! Come - you forward - to the blooming meadow; Love dreams are a mile under the dark tabernacle. Leave.

SCENE 2

Coast. Enter VIOLA, Captain, and Sailors. Viola My friends, what country is this? Captain Illyria, signora. Viola What should I do in Illyria? My brother is in Elysia. * Or maybe he was saved (* Elysia (Elysium, Champs Elysees) in ancient mythology is the abode of the blessed.) He is by chance; what do you think? Captain And you yourself were saved by chance. Viola O poor brother! He, too, maybe. Captain Yes, madam; and, to comfort you, I will tell you: when the ship crashed And you and this bunch of survivors Were in the boat, your brother, - I saw, - Resourceful in trouble, tied myself, With courage and hope taught, To a fat mast that floated level with the sea ; On it, as on the dolphin Arion, - (The dolphin on his back carried the drowning Arion to the shore.) I saw it myself, - he led friendship with the waves, While I could follow. VIOLA Here's the gold for that. My salvation promises me hope, And your story to her serves as confirmation, That he is also alive. Do you know this land? Captain Yes, madam; I grew up and was born. It is not even three hours away from here. Viola Who rules here? Captain Blood and soul is a noble duke. Viola What's his name? Captain Orsino. Viola Orsino! I heard from my father. He was single then. Captain Yes, even now, or it was not long ago; I only sailed a month from here, And there was a rumor - it is known, small people Lover to discuss the affairs of the great, - That he is in love with the beautiful Olivia. VIOLA Who is this? Captain The most worthy girl, daughter of a count, who died a year ago, leaving Olivia in the care of his brother. He soon died too; and she, grieving over him, I heard, renounced the company of people. Viola Ah, if I could get hired to her and hide from the light, Until the opportunity ripens, Who am I! Captain This is unlikely to come out: She does not allow anyone's services, Not even the duke's. Viola I like your look, captain; Although nature under the outer shine Sometimes hides rot, but about you I want to think that your temper is similar With your open, glorious appearance, I ask you, - I will pay generously, - Do not divulge who I am, and help me Dress up so that it was handy. I want to hire the Duke as a servant; Introduce me as a eunuch to him; You can boldly: I can sing, entertain with any kind of music And serve him quite worthy. The rest will be seen later, But you be silent, as I ask about that, Captain Well, where the eunuch is, you need a dumb one; Let me be blind when I blabber a word. Viola Thank you. So let's go. Leave.

SCENE 3

Olivia's house. Enter Sir Toby Belch and Maria. Sir Toby And why the hell is my niece so worried about her brother's death? I assure you, grief is the enemy of life. Maria On my word, Sir Toby, you must return early in the evenings; your niece, my lady, complains very much that you do not know the time. Sir Toby Well, let her complain if she doesn't mind. Maria All the same it would not hurt you to update your behavior. Sir Toby Update! I will not update anything: this dress is good enough to drink in it, and these boots are exactly the same; and if not, so that they hang themselves on their own ears! Maria These carousing and drinking will ruin you. I heard the lady talking about it yesterday; and about a certain ridiculous gentleman whom you brought here one evening to woo. Sir Toby Who is this, Sir Andrew Agyuchik? Maria He is the most. Sir Toby Maria So what? Sir Toby He receives three thousand ducats a year. Maria He is only for a year and all his ducats are enough: this is the most complete fool and wasteful. Sir Toby Ashamed to say so! He plays the viol de gamba, (a string instrument, the prototype of our cello.) And speaks three or four languages ​​by heart without a book, and has all the gifts of nature. Maria Yes, possessed by freaks. Because he is not only a fool, but also a great bully. And if he did not possess the gift of cowardice, tempering his attraction to quarrels, then, in the opinion of smart people, he would soon be gifted with a grave. Sir Toby By this hand, scoundrels and slanderers - who speaks like that about him! Who are they? Maria The ones who add that he gets drunk every night in your company. Sir Toby He drinks to my niece's health. I will drink to her health as long as there is a passage in my throat and a drink in Illyria. That coward and rubbish who would not drink to the health of my niece until his brains spin like a parish top (In many villages in the winter it was customary to warm up, in anticipation of a church service, by throwing and whipping up a big top.) What, girl? Castiliano vulgo (An obscure expression; most likely it means: "in colloquial Spanish."); here comes Sir Andrew Aguface. Enter SIR ANDREW EGUCHIK. Sir Andrew Sir Toby Belch! How do you do, Sir Toby Belch? Sir Toby Dear Sir Andrew, Sir Andrew God bless you beautiful wicked. Mary And you too, sir. Sir Toby Naddie, Sir Andrew, naddie. Sir Andrew What is it? Sir Toby My niece is a maid. Sir Andrew Kind Mistress Naddai, I would like a closer acquaintance. Maria My name is Mary, sir. Sir Andrew Kind Mistress Mary Naddai ... Sir Toby You are mistaken, knight: "push" means drive up, proceed, attack, storm. Sir Andrew By my honor, I would not have dared to do business with her in such a society. So what does "give" mean? Maria Bless you, gentlemen. Sir Toby If you let her go like that, Sir Andrew, then you may never draw your sword! Sir Andrew If I let you go like that, ma'am, then I may never draw my sword! Or do you think, beauty, that you have fallen into the hands of fools? Maria You, sir, did not come across to me. Sir Andrew I'll get caught; here's my hand. Maria Everyone thinks what he wants. You should take your hand into the cellar and wet it. Sir Andrew Why, my heart? What does your metaphor mean? Maria She is with you, sir, callous. Sir Andrew Why, I think! I'm not a donkey to walk with wet hands. But what does your joke mean? MARIA This, sir, is a callous joke. Sir Andrew Are you full of them? Maria I have a joke on every finger, sir. And now, when I let go of your hand, I am empty. Leaves. Sir Toby O knight, you need a glass of Canary. Have I ever seen you fall so low? Sir Andrew I think never in my life; except when I was falling from the Canary. Sometimes it seems to me that I have no more intelligence than any Christian or ordinary person. But I am a great beef eater and I think it hurts my mind. Sir Toby Certainly. Sir Andrew If I thought so, I would vow not to eat her. I'm going home tomorrow, Sir Toby. Sir Toby Pourquoi ("Why" (French).), My dear knight? Sir Andrew What does pourquoi mean? To go or not to go? I should have used the time that I spent fencing, dancing and bear-baiting in languages. Oh, why didn’t I take up flirting! Sir Toby Then you would have excellent hair on your head. Sir Andrew Wouldn't it make my hair any better? Sir Toby Certainly; you see, without floridness, they do not want to curl. Sir Andrew But they do suit me, don't they? Sir Toby Excellent; hang like flax on a spinning wheel; and I hope to see some mistress pinch you between your knees and start spinning them. Sir Andrew Honestly, I'm going home tomorrow, Sir Toby. You can't see your niece; and if it were possible, then four against one, that she does not want to know me; the count himself, next to him, is wooing her. Sir Toby She does not want to know the Count; she will not take a husband who is superior to her, be it wealth, age, or intelligence; she swore to it, I heard it myself. Trifles, my dear, not all is over yet! Sir Andrew I'll stay another month. I am the strangest person in the world; I love masquerades and holidays sometimes terribly. Sir Toby Are you good at these trifles, knight? Sir Andrew There are few in Illyria, whoever he may be, save those above me in rank; and yet I would not compare myself with the old man. Sir Toby And what do you, knight, especially shine in? In a galliard? Sir Andrew Well, I know how to jump like a goat. Sir Toby I prefer to eat a goat. Sir Andrew I think that in the backward jump I am at least as strong as few in Illyria. Sir Toby Why is it all lurking? Why are these gifts curtained? Or are they afraid of dust, like a portrait of some beauty? Why don't you go to church as a galliard and come back home as a koranta? I would not otherwise have stepped like a jig; I would urinate only with country dance (Galliard, coranta, jig, country dance - mostly lively dances.). What do you think? Is it possible to hide talents in this world? Looking at the beautiful structure of your leg, I would say that it was created under the star of the galliard. Sir Andrew Yes, she is strong and very handsome in a fiery stocking. Are we going to have a party? Sir Toby What else can we do? Aren't we born under Taurus? Sir Andrew Taurus! This is the chest and heart. Sir Toby No, sir. These are the legs and hips. Show me how you ride. Ha, higher! Haha, great! Leave.

SCENE 4

Ducal Palace. Enter VALENTIN and VIOLA, in a man's dress. Valentine If the Duke will continue to show you such favor with Caesario, then you will achieve a lot: he has only known you for three days - and you are no longer a stranger. Viola You are afraid of either his volatility, or my negligence, if you question the duration of his love. Is he fickle in his favor? Valentine No, believe me. Viola Thank you. Here comes the Count. Enter Duke, Curio, and Attendants. Duke Has anyone seen Caesario? Viola Here, sir, at your service. Duke Wait aside. - Caesario, you know everything as it is: in front of you I opened the book of my spiritual secrets. Direct, dear, your steps to her; Do not accept refusal, stand at the door, Say that you will grow in here with your feet, Until they let you in. Viola Sovereign, After all, if grief over her is so omnipotent, As they say, she will not accept me. Duke Shumi, break the bonds of all decency - Rather than return without success. Viola And if the meeting comes out, what then? Duke Then reveal all the passion of my love, Captivate with the story of how tenderly faithful I am; It's easy for you to put my grief, And your youth will sooner heed, Than a more sedate ambassador. Viola I don't think so, my duke. Duke Believe me, dear; He will slander your happy age, Who will say - you are a man. Diana's mouth Not so blush and tender; your voice, Like the voice of a girl, is high and the bell; You are as if a woman was created to play. Your constellation is just right here. - Let four or five of you accompany Him; or even all. I'm better off without people. - Come back with good luck, And you will live freely, like your duke, Sharing everything with him. VIOLA To marry her. I will try to you. (Aside) What about me? The matchmaker himself would like to become his wife. Leave.

SCENE 5

Olivia's house. Enter MARIA and JOKE. Maria Or tell me where you have been, or I will not open my lips on the hair to ask forgiveness for you. The lady will hang you for absence. Jester Let him hang. He who is well hanged in this world is not afraid of anyone's banners. Maria Why is this? Jester Because he doesn't see them. Maria The answer is rather lean. I can tell you where this expression was born - "I'm not afraid of anyone's banners." Fool Where, good Mistress Mary? Mary In the war; and you can safely use it in your tomfoolery. Jester Well, God grant wisdom to those who have it; and fools need to use their talents. Maria And yet you will be hanged for such a long absence; or if you get kicked out, isn't that the same as being hanged? Jester Sometimes a good gallows prevents a bad marriage; and if they are driven away, summer will help out. Maria Are you unwavering? Fool I won't say that; but I have strong ties on both sides. Maria So if it bursts on one side, it will stand on the other; and if it bursts on both sides, the pants fall. Jester Successful, honestly, very successful. Move on. If Sir Toby had stopped drinking, you would have been the wittiest piece of Evin's meat in all of Illyria. Maria Hush, a swindler, to talk about it. Here comes the lady. Apologize cleverly, you'd be better off. Leaves. Fool Wit, if you will, send me a good tomfoolery! Those witty people who think they have you are very often fools; and I, who am sure that I miss you, can pass for an intelligent person; for what does Quinapal say? "Better a clever fool than a stupid sage." Enter OLIVIA and MALVOLIO. God bless you, my lady! Olivia Get rid of the stupid creature. Jester Or don't you hear, friends? Take away the lady. OLIVIA Go away, you empty fool; I don't want you anymore; besides, you become indecent. Fool Two faults, madonna, corrected by drinking and good advice. Give the empty fool more to drink, and the fool will not be empty; but tell the indecent person to correct himself; if he corrects himself, he will cease to be indecent; if he cannot, send him to the Crop to repair. Everything that is corrected is only patched: the virtue that sins is only patched by sin, and the sin that is corrected is only patched with virtue. This simple syllogism is good - good; no good - what to do! Just as there is no true cuckold but misfortune, so beauty is a flower. The mistress ordered to remove the stupid creature; therefore, I repeat, take it away. Olivia Sir, I told them to take you out. Jester The greatest misunderstanding! Madam, cucullus non facit monachum; (Latin proverb - "a dress (cowl) does not make a monk.") In other words, in my brain there are not colorful rags. Kind Madonna, let me prove that you are a stupid creature. OLIVIA Can you do that? Jester Excellently, the kindest Madonna. OLIVIA Prove. Fool For this I will have to confess you, Madonna. My virtuous mouse, answer me. Olivia All right, sir, since there is no other entertainment, I am ready. Jester Good Madonna, what are you sad about? Olivia The kindest jester, about the death of my brother. Jester I think his soul is in hell, madonna. OLIVIA I know his soul is in heaven, fool. Fool All the more stupid, Madonna, to be sad that your soul is in paradise. - Remove the stupid creature, gentlemen. OLIVIA What do you say about this fool, Malvolio? Is he getting better? Malvolio Yes, and will be corrected until death cramps bring him down. Senility, harmful to the smart, is always good for fools. Jester God send you, my sir, sudden decrepitude, to the success of your foolishness! Sir Toby will swear that I am not a fox; but he will not guarantee by two pence that you are not a fool. OLIVIA What do you say to that, Malvolio? Malvolio I wonder how your grace can find pleasure in such a brainless bastard. I saw how he just flung himself in front of a simple buffoon, who has no more brains than a stone. Look, he has already passed; if you yourself do not laugh and do not give him an opportunity, then his mouth is riveted. I assure you, in my opinion, smart people who giggle in front of these hired jesters are no better than the henchmen of these same jesters. Olivia Oh, you are sick with pride, Malvolio, and you do not find taste in anything. He who is magnanimous, innocent and free-minded will accept, like arrows of a bird, what you consider cannonballs. The recognized jester does not offend, although he only does what he mocks. - just as a knowingly smart person does not mock, even if he only did what he censured. Jester May Mercury endow you with the gift of cheating (Mercury in ancient mythology is the god of trade, be considered the patron saint of measurers, weighers and all kinds of liars.) - for saying good things about jesters! Maria returns. Maria Madame, there is a young gentleman at the gate who really wants to talk to you. Olivia From Count Orsino, must it be? MARIA I don't know, madam. He is a handsome young man with a decent retinue. OLIVIA Which one of my people is holding him back? Mary Sir Toby, madam, your relative. Olivia Take him away, please, he can't talk like crazy. Ashamed of him. (Maria exits) You go, Malvolio. If this is an embassy from the count, then I am sick or I am not at home; whatever you want to get rid of. Exit MALVOLIO. You see for yourself, sir, that your tomfoolery is getting old and people no longer like it. Fool You spoke for us, Madonna, as if your eldest son were a fool, whose skull would Jupiter fill with brains! For - yes, here he is! - one of your relatives has a very weak pia mater. Enter Sir Toby. Olivia Honestly, half-drunk. - Who is there at the gate, uncle? Sir Toby Sir. Olivia Master? Which master? Sir Toby There is only one lord ... damn those pickled herrings! How are you, you fool? Fool Good Sir Toby! Olivia Uncle, uncle, how did you get so lethargic early in the morning? Sir Toby Liturgy! Well, her, the liturgy! There is someone at the gate. OLIVIA Who is this? Sir Toby Let the devil himself, if he pleases, what is it to me? Trust me. However, it doesn't matter. Leaves. Olivia Jester, who does a drunk man look like? Fool On a drowned man, on a fool and on a madman: one sip beyond measure makes him a fool; the second is maddening; and the third drowns. OLIVIA You go and bring the investigator to see my uncle: he's in the third degree of intoxication, he's drowned. Go look after him. Fool For the time being, he's only gone mad, madonna; and the fool will look after the madman. Leaves. Malvolio returns. Malvolio Madam, this young man swears that he needs to speak to you. I told him that you are sick; he claims to be informed of this and that is why he came to talk to you. I told him that you are asleep; he seems to be forewarned about this, and that is why he came to talk to you. What can I tell him, madam? He is armed against any challenge. OLIVIA Tell him he won't talk to me. Malvolio This is said to him; and he declares that he will remain sticking out at your gate, like a sheriff's pillar, (At the entrance to the official abode of the sheriff - the district judges - they usually placed two pillars, with a bench between them, on which the petitioners and the arrested were waiting.) and will be in the form of a support for benches until he speaks to you. OLIVIA What kind of person is this? Malvolio Yes, masculine. OLIVIA What does he look like? Malvolio His behavior is unlike anything; he wants to talk to you, whether you like it or not. OLIVIA What is he like and how old is he? Malvolio Not old enough for a man, not young enough for a boy; like an unripe pod or unripe apple; so, middle and half, between a boy and a man. He is very nice and speaks very perky; from him, one might say, still gives off with mother's milk. OLIVIA Let her come here. Call my maid. Malvolio The maid, the lady is calling. Leaves. Maria returns. OLIVIA Give me a blanket; throw it over my face. Let us hear once more from the Orsino embassy. Enter VIOLA and ROOM. Viola Who among you is the venerable mistress of this house? Olivia Talk to me; I will be responsible for her. What do you want? Viola Most radiant, most exquisite and incomparable beauty, I ask you, tell me if you are the mistress of the house, because I have never seen her; I would not want to waste my speech, because, not to mention the fact that it is remarkably well written, it took a lot of effort for me to solidify it. - Good beauties, do not subject me to ridicule; I am very sensitive to even the slightest abuse. OLIVIA Where did you come from, sir? Viola I can only say a little more than what I have memorized and this question is already out of my role. Dear madam, give me the humble assurance that you are the mistress of this house, so that I may begin my speech. Olivia Are you a comedian? Viola No, my deep heart. And yet, I swear by the fangs of deceit. I'm not what I'm kidding. Are you the mistress of the house? Olivia If I don’t take anyone’s rights, then it’s me. Viola Of course, if it is you, then you appropriate them; for what you are. you have the power to give up, you have no power to keep. But this is not part of my assignment. I will begin my eulogy to you and then show you the heart of my embassy. Olivia Go to what is essential in him; I save you from praise. Viola Alas, it took a lot of work for me to memorize them, and they are poetic. Olivia Especially since they must be pretentious. I ask you to leave them to yourself. I heard you were cocky at my gate, and I let you in, more to look at you than to listen to you. If you're not crazy, go away; if you have sanity, be brief; I'm not under the moon right now to engage in empty dialogues. Maria Will you set sail, sir? The road is here. Viola No, good sailor, wait with your mop; I'm still swinging here. “Soften your giant a little, lovely lady. What do you say? After all, I am an ambassador. Olivia You should probably say something disgusting, since you are so terribly courteous. State what you are entrusted with. Viola This is for your ears only. I am not bringing a declaration of war, not a demand for obedience. In my hand is an olive branch; my words are full of peace and prudence. OLIVIA Well, you started off politely. Who are you? What do you want? Viola The impoliteness that I showed was taught me by the meeting rendered to me. Who I am and what I want is as mysterious as virginity; for your ears - a shrine, for everyone else - a profanation. OLIVIA Leave us alone; we want to hear this shrine. (Exit Maria and those close to you.) So, sir, what is your theme? Viola The most charming lady ... Olivia A comforting teaching, and there is much to be said about that. Where is your theme? Viola In Orsino's chest. Olivia In his chest! Which chapter of his chest? Viola If you answer methodically, in the first chapter of his heart. OLIVIA Oh, I read this; this is heresy. Don't you have anything else to say? Viola Good lady, let me have a look at your face. OLIVIA Has your master instructed you to negotiate with my face? So you have stepped back from your topic. But we will throw back the curtain and show you the picture. Look, sir: this is how I was now. Isn't it well done? (Pulls back the coverlet.) VIOLA Well done, if God did it all. Olivia Paint, sir, strong; will withstand both wind and bad weather. Viola Krasa without lies, where the scarlet color and white Nature itself gently brought. You would be heartless of all women, Burying this charm in the grave And leaving no imprint on the world. OLIVIA O sir, I will not be so hard-hearted; I will publish all sorts of lists of my beauty; an inventory will be drawn up for her, and every particle and accessory will be attached to my will. So, for example: we put two lips, red enough; we set two blue eyes, with eyelids to them; we put one neck, one chin and so on. Have you been sent here to evaluate me? Viola I see who you are: you are proud beyond measure. But even if you are the devil, you are beautiful. My duke loves you. It is impossible not to reward such love, even though you were the Most Beautiful of all! OLIVIA How does he love me? Viola With a stream of tears, with groans in which love Thunders, with sighs of fire. OLIVIA I cannot love him; he knows. I believe he is valiant; I do not argue, He is noble, and rich, and in the prime of life; We praise the people, generous, learned, courageous; And an outwardly pleasant person; And yet I cannot love him; He could have answered himself a long time ago. Viola If I loved you as he did, burning up In such a painful, deadly life, In your refusal, I would not see the point, I would not understand it. OLIVIA And then what? Viola I would weave a hut at your door, I would appeal to my soul, to the one in the house; Would write songs about unhappy love And sing them loudly in the silence of the night; I would shout your name to the echoing hills, To echo the aerial chatterbox: "Olivia!" Between heaven and earth, you could not find peace for yourself, Until you softened up. OLIVIA You could achieve a lot. Who are you from? Viola Though my lot is not bad, but my race is higher: I am a nobleman. OLIVIA Go back to Orsino. I cannot love him. And no more Embassies are needed; unless, perhaps, you come in to say how he reacted. Farewell. Here; thank you for your work. Viola I am not a messenger, hide your wallet; My duke will be rewarded, not me. Let your heart fall in love with the stone, Let your passion despise in the same way! Goodbye, beautiful cruelty. Leaves. Olivia "Who are you from?" - "Though my lot is not bad, but my race is higher: I am a nobleman." “I swear it is. Your face, your camp, speech, mind, deeds - your fivefold coat of arms. But quieter, quieter! After all, he is not a duke. How so? Is it really so easy to grasp the infection? I feel how this young image Penetrated into my eyes with an elusive and invisible step. Well, let it be. - This way, Malvolio! Malvolio returns. Malvolio Here, at your service. Olivia Run after this impudent messenger, For the count's man. He left this ring here. I don't need him. I do not want him to flatter Orsino with Empty hope: I am not for him. And if the young man came in tomorrow, I would explain the reasons to him. Hurry up, Malvolio. Malvolio I'm in a hurry. Leaves. OLIVIA I don't know what I'm doing. The speech of flattering eyes, I'm afraid, is stronger than the mind. Fate, decide; we are not given the will; Let what is destined be done. Leaves.

ACT II

SCENE 1

Coast. Enter Antonio and SEBASTIAN. Antonio Would you like to stay longer? And don't you want me to go with you? SEBASTIAN Don’t excuse me, but I don’t want to. My stars shine gloomily on me; the malevolence of my destiny may anger cotton wool; therefore I must ask your permission to bear my troubles alone; it would be a bad reward for your love - to impose any of them on you. Antonio Let me know where you are going. SEBASTIAN No, sir, really; the journey I have planned is a simple wandering. But I see in you such a wonderful sense of modesty that you will not pry from me what I would like to leave to myself; therefore, decency commands me all the more to reveal myself. So, you must know about me, Antonio, that my name is Sebastian, which I changed to Rodrigo. My father was the same Messaline Sebastian (Messaline is a fictional area.) That I know you've heard of. After him, I and my sister remained, with whom we were born at the same hour. Why did the heavens not want us to end the same way! But you, sir, judged differently, because some hour before you pulled me out of the surf, my sister drowned. Antonio What a grief! SEBASTIAN A woman, sir, whom - although we were considered very similar - many, however, recognized as a beauty. But although I could not agree with such an overly enthusiastic assessment, I still can safely say about her: she possessed a soul that envy itself could not but call beautiful. She has already drowned, sir, in salty streams, although it seems that I am ready to drown her memory in them again. Antonio You will excuse me, sir, that I have looked after you badly. SEBASTIAN Oh good Antonio, forgive me for giving you trouble. Antonio If you do not want to kill me for my love, let me be your servant. SEBASTIAN If you don’t want to destroy what you did, that is, kill the one you saved, don’t want to. Let's say goodbye right away: my breasts are full of tenderness, and I am still so close to my mother, that the slightest reason - and my eyes will tell about me. I am heading towards the court of Count Orsino. Farewell. Leaves. Antonio May the mercy of all the gods be with you! They are hostile to me at the court of Orsino, Otherwise I would soon overtake you. But all the same, the danger is not a problem; You are dear to me, and I will go there. Leaves.

SCENE 2

Street. Viola enters, followed by Malvolio. Malvolio Didn't you just visit Countess Olivia? Viola Just now, my sir; Since then, I have only managed to reach here with a moderate step. Malvolio She returns this ring to you, sir; you would save me the trouble if you yourself took it with you. In addition, she adds that you should instill in your master the hopeless certainty that she does not need him; and one more thing - so that in the future you will never dare to appear on his business, unless only to report how your master reacted to this. So accept. Viola I gave her the ring; I do not need it. Malvolio Excuse me, sir! You boldly threw it to her, and she wants it to be returned in the same way; if it's worth stooping, here it lies in plain sight; if not, let it belong to the finder. Leaves. Viola I didn’t give her the ring. What's the matter? Was it really my sight that seduced her? Yes, her gaze was tender, and it seemed, Her eyes forgot about the language, Then that speech was at times incoherent. She fell in love with me; the cunning of feeling sent a gloomy messenger for me. I returned the ring, given to her by no one! I am the culprit of everything. And if so, Poor thing would be better off falling in love with a dream. Attire, I see, you are one of the blights, With which the crafty enemy is mighty! A handsome liar will easily imprint His features in an unsteady woman's heart. We are weak, yes, but there is no fault of it: We are as we were created. What to do now? My duke is in love with her; I, poor monster, into him; She was captivated, by mistake, by me. What will happen next? If I am a man, I am hopeless for his love, And if a woman, alas! - how vain will Olivia's sighs be unhappy! Oh time, your hand is needed here: I cannot untangle this ball! Leaves.

SCENE 3

Olivia's house. Enter Sir Toby and Sir Andrew. Sir Toby Please, Sir Andrew. Not being in bed after midnight means being on your feet at an early hour; a "diluculo surgere", (The beginning of the Latin dictum: diluculo surgere saluberrinium est - "the most beneficial for health is to get up early.") You know yourself ... Sir Andrew Honestly, no, I don't know. But I know that being on your feet at a late hour means being on your feet at a late hour. Sir Toby False conclusion; and I hate this as an empty glass. Being up after midnight and then going to bed is early, so going to bed after midnight is going to be early. Isn't our life made up of four elements? Sir Andrew Yes, they say; but in my opinion, it rather consists of food and drink. Sir Toby You are wise. So let's eat and drink. Mariana! Hey! A jug of wine! The Jester enters. Sir Andrew And here's a fool, by golly. Fool How are you, my hearts? Have you ever seen the sign: "There are three of us"? (On the signs of some taverns of that time, for fun, two donkey's heads were depicted with the indicated inscription ("Third" - looking). Sir Toby Welcome, donkey. Let's tighten the circular. Sir Andrew Honestly, the jester has an excellent voice. I would give forty shillings to have such a leg and such a sweet sound for singing like a jester. Indeed, you were delightfully fooling around last night when you spoke of Pygrogromitus and the Vapians crossing the Queubus equator; (Fictitious names.) That was very good, by golly. I sent you sixpence for your girlfriend. Did you get them? Fool I ordered your tarpaulin. Malvolio's nose is not a whip; my sudarushka has a white handle, and the Myrmidonians are not pubs. Sir Andrew Excellent! There’s no better joke, after all. Well, now a song. Sir Toby Go ahead! Here's sixpence for you, sing us a song. Sir Andrew Here's a six from me too: if one knight gives ... Fool what song do you want: love or edifying? Sir Toby Love, love! Sir Andrew Yes, yes, I need no edification. Jester (singing) Where are you, honey, wandering? Wait, listen, you will know How your faithful friend sings. There is no need to run far, All paths lead to a meeting; Grandfather and grandson will say this. Sir Andrew Remarkably good, by God. Sir Toby Good, good. Jester (singing) What is love? Love is not expected; He who is cheerful, let him laugh; Tomorrow is an unreliable gift. To procrastinate completely. Happiness is fragile. Kiss me, dove; Youth is a torn commodity. Sir Andrew Honey-flowing voice, or I am not a knight! Sir Toby Unbearable sound. Sir Andrew Unbearably sweet, by golly. Sir Toby If you listen with your nose, it is sweet, but unbearable. However, what, let us dance the sky, really? Let's scare the owl with such a circular song, so that it exhausts three souls of one weaver? Let's go or not? Sir Andrew If you love me, then come on. I ate the dog on the circular songs. Jester But a different dog, sir, will eat anyone itself. Sir Andrew You bet! Sing "You Cheat." Jester "Shut up, you rogue," knight? I will have to call you a rogue in the song, knight. Sir Andrew This is not the first time I have compelled others to call me a cheat. Get started, jester. It starts like this: "Shut up." Fool I will never start if I remain silent. Sir Andrew Well, by God. Let's go. A circular song is sung. Maria enters. MARIA What kind of cat music have you played here? If the mistress has not already called her butler Malvolio and ordered him to put you out of the gate, then you can not believe me in anything. Sir Toby Your lady Chinese, we are politicians, Malvolio is a stuffed animal, and "we are three merry fellows." Or am I not consanguineous? Or am I not of the same kind? Fu you, well you! Madam! (Sings) "There was a man in Babylon, his wife was with him." (All of Sir Toby's speech is interspersed with lines plucked from the ballads of the time.) Fool Squab me, the knight is delightfully fooling around. Sir Andrew Yes, he does it well when he is disposed, and so do I; it comes out more gracefully for him, but for me it is more natural. Sir Toby (singing) "December 12th ..." Mary For God's sake, be quiet! Enter MALVOLIO. Malvolio My lords, are you mad? Or what's wrong with you? Do you really have enough intelligence, decency and knowledge so as not to rumble like coppersmiths at this hour of the night? Or do you accept my mistress's house and the pub, that you squeal your tailor's songs without any softening or remorse in your voice? Or do you have no respect for the place and persons, not the slightest tact? Sir Toby Tact, sir, we have observed in our songs. Well, you - in the noose! Malvolio Sir Toby, I must speak to you frankly. My mistress told me to tell you that although she gives you shelter as her relative, she has nothing to do with your ugliness. If you can separate yourself from your obscenities, you are a welcome guest in this house; if not, then, if you please to say goodbye to her, she will very willingly wish you a good journey. Sir Toki "Happy journey, the hour of separation has come." MARY Stop it, dear Sir Toby. Jester "In his eyes, the fire is almost extinguished." Malvolio So how are you? Sir Toby "No, I will never die." Jester The man stumbled. Malvolio It does you a great honor. Sir Toby "Get him out?" Jester "That's how to say it." Sir Toby "Get him out now." Jester "Oh, no, no, they will banish you." Sir Toby We’re out of touch, sir, you’re lying. - Who are you if not a butler? Or do you think that if you are virtuous, then there should no longer be any pies or beer? Fool Yes, I swear to Saint Anne, and your mouth must burn with inbrem. Sir Toby You're right. - Go, sir, rub your chain with bread crumb. - A jug of wine, Maria! Malvolio Mistress Mary, if you believed that the mercy of our lady is worth more than contempt, you would not promote this reprehensible way of life. She will know everything, I swear by this hand. Leaves. MARIA Go shake your ears. Sir Andrew It would be as good a thing as having a drink when a man is hungry, challenging him to a duel and then breaking his word and leaving him in a fool. Sir Toby Do it, knight. I will write you a challenge or give him your indignation orally. Mary Dear Sir Toby, bear with this night. Since the Count's young man visited his mistress today, she is very restless. As for Monsieur Malvolio, leave us alone. If I do not fool him so that he becomes a parable among people, and I do not make him a universal laughing stock, then consider me a fool who does not know how to lie straight in bed. I know I can do it. Sir Toby Enlighten us, enlighten us; tell us something about him. MARIA Why, sir, sometimes he seems to be a Puritan. Sir Andrew Oh, if I thought so, I would beat him like a dog! Sir Toby How? For being a Puritan? What are your compelling reasons, dear knight? Sir Andrew I have no convincing reasons, but I have sufficient reasons. Maria He is not a devil, not a Puritan, and nothing definite at all, but simply a pleaser; a cutesy donkey who hammers down the rules of gravity and brings them to you in armfuls; he has the best opinion of himself and is so stuffed, as it seems to him, with perfections that he is immutably sure that everyone who looks at him is in love with him; and it is this vice of his that my revenge will find an excellent opportunity to use. Sir Toby What do you want to do? Maria I want to throw some dark love messages on his way, where by the color of his beard, by the shape of his legs, by the manner of walking, by the description of his eyes, forehead and complexion, he will see himself very unmistakably depicted. I can write very much like your lady niece; where it is forgotten what the matter is, we can hardly distinguish our handwriting. Sir Toby Excellent! I can already sense what the idea is. Sir Andrew And I have it in my nose. Sir Toby He will think that these letters that you toss to him were written by my niece and that she is in love with him. Maria My thought is really that color of a horse. Sir Andrew And your horse will make him a donkey. Maria Oslom, no doubt. Sir Andrew Oh, that will be wonderful! Maria Royal fun, rest assured. I know my medicine will work on him. I will place both of you - and let the jester be the third - where he finds the letter; observe how he will interpret it, In the meantime - lie down and let you dream of this event. Be healthy. Leaves. Sir Toby Good night, Penthesilea. (Pentezileya is the legendary warrior of antiquity, the queen of the Amazons.) Sir Andrew To her, a nice girl. Sir Toby Hound, purebred and adores me. So what? Sir Andrew I was once adored too. Sir Toby Let's go to bed, knight. I need you to tell me to send more money. Sir Andrew. If I don’t get your niece, I’ll sit down well. Sir Toby Veli send money, knight; if ultimately you don’t get it, call me kurguzi horse. Sir Andrew If I don’t get it, you don’t have to believe me; as you wish. Sir Toby Come on, let's go, I'm going to light the burnt; now it's too late to go to bed. Come knight, come knight. Leave.

SCENE 4

Ducal Palace. Enter Duke, Viola, Curio, and others. Duke Let them sing to me. - Ah, good afternoon, friends! - Caesario, that song that yesterday, An ancient, ingenuous song; She softened my melancholy more than the light ringing and pretentious speeches of Agile and agile of our days. One stanza. Curio No, sorry, Your Grace, who could sing it. Duke Who was that? Curio Feste, buffoon, sir; a jester who was very fond of Mrs. Olivia's father. He's around here somewhere. Duke Find him, but for now, play the melody. Curio leaves, the music plays. Come my boy; if you love yourself, then in sweet flour remember me. All who are in love are the same as me: Unstable, windy in all impulses, And only a sweet image is unchanged In their souls. How do you find the melody? Viola I would say he echoes to the throne, Where love reigns. Duke You said masterfully. I guarantee with my life, Even though you are young, but your eyes Someone's mercy was already desired. What, boy, isn't it? Viola Yes, your grace. Duke Who is this woman? Viola Looks like you. Duke Then she's not worth you. What is her age? Viola Like yours, my sir. Duke of Stara, by God. The husband must be older than his wife, and he will fit her, She will take his heart more firmly; Even though we praise ourselves, boy, We are more fragile, we are more deceiving in love, More changeable, weaker, more fragile Than women. Viola You are right, sir. Duke Let the one you love be younger, or your affection will not stand. After all, women are like roses: a magnificent color As soon as it bloomed, it is no longer there. Viola Yes it is; and how sad it is: Alas, to perish in the very hour of prosperity! Curio and the Fool return. Duke A, brother, sing the song of yesterday for us! - Listen, boy, old, simple. Knitters, working in the sun, And girls, weaving threads with bones, Sing it; she is truthful in everything And amuses herself with the innocence of love, Like old times. Fool Are you ready, sir? Duke Yes, sing, please. Music.

SONG

Jester "Come, lay down, death, Let me be wrapped in a veil; Fade away, fade away, firmament, I am killed by heartless beauty. Jewel my shroud with yew foliage. I will meet my mortal lot, Like happiness. Without flowers, without flowers, so, Only in black burying a coffin, Without friends, without friends, in darkness, Without saying goodbye, lower me. In the grave let me lie Alone, So that the lover does not come to cry over her. " Duke Take it to work. Fool What kind of work is this, sir? For me, sir, singing is a pleasure. Duke Well, I pay for the pleasure. Jester That's right, sir, for pleasure you have to pay, sooner or later. Duke Now forgive me, but I will say goodbye to you. Jester May the melancholy god protect you; and let the tailor sew you a camisole of iridescent taffeta, for your soul is a true opal. People of such consistency should be sent to sea so that anything could be their occupation, and the goal could be anywhere; this way, nothing will always make a great trip. Be healthy. Leaves. Duke Leave us. Exit Curio and those close to him. My boy, visit once again this proud cruelty. My love - tell her - is higher than the world, I do not need the dirt of the earthly lands, And all the gifts sent to her by happiness, I, as well as happiness, are indifferent; Only the royal miracle of perfection, embodied in her, attracts my spirit. VIOLA But if she cannot love you? Duke I will not accept refusal. Viola You should. Suppose a woman - perhaps even such is - loves you with anguish of heart, Like you Olivia; you are not; and you told her this; because she has to Accept the rejection? Duke A woman's breast cannot Bear the beating of such a mighty passion As in this heart; women's hearts So much will not contain and will not hold. No, their love is not more than an urge, - Excitement not of the liver, but of the sky, - Leading to satiety and disgust; My love, like the sea, is hungry And swallows as much; there is no comparison Between how I would be loved by a woman, And how I love Olivia. Viola And yet I know ... Duke What do you know? Viola As women love. The heart is true in them, As in us. My father had a daughter, and she loved a man, As if I were a woman, and I, perhaps, would love you. Duke Tell me this tale. Viola It has white pages. Her passion Lurked silently and, like a worm in a flower, Was eating away her fever; in green And yellow melancholy, she Frozen, like a gravestone Submission, And smiled. Isn't this love? We talk more, we swear more; But this is the ostentatious side: Vows are generous and love is poor. Duke Well, has love killed your sister? Viola I am the only one - all the daughters of my father, All his sons ... although I don't know. Shall I go to the Countess? Duke Yes, rather! Take it to her; repeat to her again, That love will not back down and wait. Leave.

SCENE 5

Olivia's garden. Enter Sir Toby, Sir Andrew, and Fabian. Sir Toby Perhaps this way, Signor Fabian. FABIAN Yes, I'm going; if I miss even a grain of this fun, let me cook to death in melancholy. Sir Toby Wouldn’t you be glad if this poor wretched dog received a loud shame? Fabian I would rejoice, my dear; you know, he put me out of favor with the mistress because of one bear-baiting here. Sir Toby To tease him, we'll show him a bear here and play him all the way; isn't it, Sir Andrew? Sir Andrew If we do not play, then our life is worthless. Sir Toby And here is the little crook. Maria enters. Hello, my Indian treasure! Maria All three of you, hide behind this boxwood. Malvolio walks down the alley here. He was there in the sun for half an hour teaching his own shadow manners. Watch him if you like funny; I'm sure this letter will turn him into a dreamy idiot. Don't move, for the funniest thing! And you lie there (drops the letter), because the tickling trout is approaching. Leaves. Enter MALVOLIO. Malvolio This is a matter of chance; it's all a matter of chance. I once heard from Maria that she loves me, and she herself somehow in a conversation touched upon the fact that if she fell in love, it would only be with a person like me. In addition, she treats me with such exalted respect as she does to any of her entourage. What should I think about this? Sir Toby What an arrogant wretch! Fabian Oh, hush! Dreaming turns him into a rare turkey: look how he is performing, spreading his feathers! SIR ANDREW Oh, her, I would beat the villain like that! Sir Toby Hush, I say. Malvolio Become Count Malvolio! Sir Toby Ah, you scoundrel! Sir Andrew Shoot him, shoot him with your pistol. Sir Toby Hush, hush! Malvolio Tom has examples: Countess Stracci married her cloakroom attendant. Sir Andrew Damn you, Jezebel! (Mentioned in the Bible, a Jewish queen who was distinguished by pride and depravity.) Fabian Oh, hush! He is completely absorbed. See how bloated with imagination. Malvolio Married to her for three months now, sitting in a canopy chair ... Sir Toby Oh, if I had a crossbow to shoot him in the eye with a stone! Malvolio ... surrounded by his servants, dressed in embroidered velvet, just getting up from the sofa where I left Olivia asleep ... Sir Toby Fire and bogey! Fabian Oh, hush, hush! Malvolio ... And then behave stately; and then, after a restrained gaze, telling them that I knew my place and would like them to know theirs, tell them to call my relative, Sir Toby. Sir Toby Shackles and chains! Fabian Oh, quieter, quieter, quieter, come on! Malvolio Seven of my men follow him obediently; meanwhile I frown and maybe wind up my watch or play with my ... some precious trinket. Toby comes up, bows to me ... Sir Toby And this man will live? Fabian Even if our silence was pulled from us by carts, still quieter! Malvolio ... I stretch out my hand to him like this, tempering my friendly smile with a stern look of power ... Sir Toby And Toby doesn't whip you on the lips? Malvolio ... saying: "Uncle Toby, my fate, giving me your niece gave me the right to talk to you like this ..." Sir Toby What, what? Malvolio "... You must wean yourself from drinking ..." Sir Toby Vaughn, you bastard! FABIAN Ah, bear with me, or we will upset our whole venture. Malvolio "... Besides, you are wasting the treasures of your time with some silly knight ..." Sir Andrew It's me, I assure you. Malvolio "... with some Sir Andrew" ... Sir Andrew I knew it was me, because many call me stupid. Malvolio What is this business we have here? (Picks up a letter.) FABIAN Here the sandpiper came to the snare. Sir Toby Oh, hush! And let the spirit of fun inspire him to read aloud! Malvolio By my life, this is the hand of the mistress: these are her eras, her ales; and so she writes a big P. There can be no question, it is her hand. Sir Andrew Her era, her ales. What does it mean? Malvolio (reading) "To the unknown lover, with my good wishes." Quite her turnovers! With your permission, wax. Quietly! And the seal is her Lucretia, with which she always seals. This is madam. Who could it be to? Fabian And he got hurt on the liver and stuff. Malvolio (reads) "He sees the sky, I love. But whom? Lips, I will close the Secret of my heart to you." "The secret of my heart." What's next? The size changes. "The secret of my heart": what if it is you, Malvolio? Sir Toby Eh, hang you, badger! Malvolio (reads) "I can tell what is sweet; But, like Lucretia - a dagger, My spirit pierced my spirit. M, O, A, L - bound me." Fabian Puzzle nonsense! Sir Toby I say: an excellent woman. Malvolio "M, O, A, L - bound me." No, let me, let me think, let me think, let me think. FABIAN Here she brought him a poisonous dish! Sir Toby And how greedily the falcon rushed at him! Malvolio "I can tell what is cute." Yes, she can tell me, I serve her, she is my mistress. Yes, this is clear to every common understanding; there are no difficulties here. Well, and the horses - what can this arrangement of letters mean? If I could find in this something similar to me ... Quiet! M, O, A, L ... Sir Toby. Oh, come on, guess. He was off the track. FABIAN Nothing, the dog will find him, because he smells like a fox. Malvolio M - Malvolio; M - yes, that's how my name begins. Fabian Didn't I say he could handle it? This dog will always be back on the trail. Malvolio M ... - but there is no further agreement; This does not stand the test: A should have followed, but O. Fabian follows And O will finish it all, I hope. Sir Toby Yes, or I'll knock him out of him with a stick. Oh! Malvolio And finally I see a consonant. Fabian No, brother, you will never see a consonant in your life! Malvolio M, O, A, L: this simulation is not the same as the previous one; and yet, if you push a little, it can lean towards me, because each of these letters is in my name. Quietly! Prose follows. (Reads) "If it falls into your hands, ponder. By my stars, I am higher than you; but you are not afraid of greatness: some will be born great, others achieve greatness, while others complain of greatness. Your Destinies stretch out their hand to you; let your blood and the spirit will embrace them; and to accustom yourself to what you can become, shed your humble skin and appear fresh. the one who sighs for you. Remember who praised your yellow stockings and wished to see you always in crosswise garters; remember, I say. Boldly, you will achieve everything, if only you wish; if not, let me still see you as a butler, a chelyadin and unworthy to touch the fingers of Fortune. Farewell. The one who would like to change the situation with you, Blissful Unhappy. " Daylight and open field will not reveal more: everything is obvious. I will be proud, I will read political authors, I will scoff at Sir Toby, I will wash off all my low acquaintances, I will become a point to point such person. Now I am not deceived, I do not let my imagination joke with me, for every argument leads to the fact that my mistress loves me. She recently praised my yellow stockings, she approved that my leg was tied crosswise; and in this she reveals herself to my love and, as if commanding, compels me to dress the way she likes. I thank my stars, I am happy. I will be unapproachable, arrogant, in yellow stockings and criss-cross garters, as soon as I have time to put them on. Praise to Jupiter and my stars! There is, however, a postscript. (Reads) "You cannot but know who I am. If you accept my love, show it with your smile; your smiles suit you; therefore, in my presence you always smile, my dear, beloved, I ask you." Jupiter, thank you: I will smile; I will do whatever you want. Leaves. Fabian I would not give up my share of this entertainment for a pension of several thousand from the funds of the Persian Shah. Sir Toby I am ready to marry this woman for this invention. Sir Andrew And I'm ready too. Sir Toby And ask her for no dowry, except for another joke of the same kind. Sir Andrew And I am not. Fabian And here is our famous prankster. Maria returns. Sir Toby Would you like to step on my neck? Sir Andrew Or me. Sir Toby Would you like me to play dice for my freedom and become your slave? Sir Andrew Or me, by God! Sir Toby You know, you have immersed him in such dreams that when their image leaves him, he must go mad. Maria No, tell the truth: did it affect him? Sir Toby Like vodka to a midwife. Maria So, if you want to see the fruits of the venture, look at his first exit to the mistress: he will appear to her in yellow stockings - and she hates this color - and in cross-garters - a fashion that she cannot stand; and he will smile at her - and this now so does not suit her disposition, when she is so subject to melancholy that she cannot but incur obvious contempt on him. If you want to see this, follow me. Sir Toby At the gates of Tartarus, (Tartarus in ancient mythology is the underworld, hell.) The incomparable devil of wit! Sir Andrew And I am with you. Leave.

ACT III

SCENE 1

Olivia's garden. Enter VIOLA and Jester with a drum. Viola God help you, buddy, and your music; do you live dancing? Fool No, sir, I live with a limp. VIOLA What, do you have a bad leg? Fool No, sir, my leg is healthy; but only my house is adjacent to the church, that's why I live with a limp. Viola In that case, you could say about the king that he is a fool, because he is a fool; or that the church has become dull if you stand in front of the church with a tambourine. Fool That's right, sir. See what the century is now! Any dictum is like a morocco glove to a witty: how quickly you can turn it inside out! Viola Yes, that's right; if you play with words frivolously, they become too pliable. Jester I would, sir, that's why I would prefer that my sister had no name. Viola Why, dear? Fool Why, sir: after all, a name is a word; and if you play with this word, then my sister does not become too pliable. And only words have become real channels, since they were disgraced with shackles. VIOLA What proof do you have, dear? Fool Really, sir, I cannot present them to you without words; and the words have become so deceitful that I do not want to prove my case with them. Viola You, I see, are a cheerful fellow, for whom everything is nothing. Fool No, sir, for me not everything is nothing; but, in all conscience, sir, you are nothing to me; and I, sir, would be glad if it could make you invisible. VIOLA Aren't you Mistress Olivia's fool? Jester No, how can you, sir; Madame Olivia has no foolishness, sir, she will not have it until she marries; and it is as difficult to distinguish a husband from a fool as a herring from a sardine; only the husband is bigger. Actually, I am not a fool with her, but a perverter of words Viola. I recently saw you at the Count Orsino's. Fool Foolishness, sir, walks around the world like the sun; it shines everywhere. “I would be sad if she visited your master less often than my mistress. I think I saw your wisdom there. Viola No, if you love me, I'll leave. Here's your expenses. Jester May Jupiter, from the next shipment of hair, reward you with a beard. Viola To tell you the truth, I myself languish to the point of my beard; (aside) although I would not want it to grow on my chin. Is your mistress at home? Fool Don't you think, sir, that if there were a couple of them, they would have multiplied? Viola Yes, if you put them together and put them into circulation. Fool I would not mind playing Pandar of Phrygia, sir, in order to get Cressida for this Troilus. Viola I understand you, sir; you are not bad begging. Fool I hope, sir, it will not be so difficult to beg a beggar: Cressida was a beggar. My lady is at home, sir. I will explain to them where you are from; but who you are and what you want is beyond my heavens, I would say - my "element", but this word is worn out. Leaves. Viola He has brains to play the fool; And this business requires ingenuity: He must know exactly who he is joking at, Be able to assess people and time And, like a wild falcon, strike from a raid At every bird he meets. Crafting Not easier than taking on the sane. There is a wise sense in such foolishness; And the clever one is often a fool. Enter Sir Toby and Sir Andrew. Sir Toby God bless you, my sir. Viola And you, my dear sir. Sir Andrew Dieu vous garde, monsieur. Viola Et vous aussi; votre serviteur. (These two French lines repeat almost without change the words of the previous two lines.) Sir Andrew I hope, sir, that it is so; and I'm yours. Sir Toby Do you want to enter this house? My niece wants you to come in, if that's your direction. Viola I am heading for your niece, my sir; I want to say that she is the purpose of my journey. Sir Toby Try your feet, my sir; set them in motion. Viola I feel more confident in my feet, my sir, than in the correct understanding of your words when you invite me to try my feet. Sir Toby I want to say, go, sir, come in. Viola I will answer you with my step and entry. But we were warned. Enter OLIVIA and MARIA. Most beautiful and perfect lady, may the heavens pour a rain of incense on you! Sir Andrew This young man is a rare courtier. "Incense rain" ... good! Viola My embassy, ​​madam, can only find a voice for your receptive and benevolent ears. Sir Andrew "Incense", "receptive" and "benevolent". I'll keep all three for myself. OLIVIA Let the garden gates be closed, and don't bother me to listen. Exeunt Sir Toby, Sir Andrew, and Maria Give me your hand. Viola Accept my duty and my service. OLIVIA What's your name? Viola Your servant is called Caesario, a beautiful princess. Olivia Are you my servant? The world has become boring since the time the base pretense was given the name of Courtesy. You are Orsino's servant. Viola He is your servant and I am his servant; Whoever serves your servants serves you. Olivia I have forgotten him; and it would be better if his thought Was an empty sheet than I was full! Viola I have come to you to attract your favor to him. OLIVIA Oh no, I asked you not to tell me about him anymore. But if you have another request, My ear is more readily captivated by it, Than by the music of the spheres. VIOLA Oh madam ... OLIVIA Allow me. When the last time you performed a spell here, I sent you a ring after; By this I deceived Myself, a servant, perhaps also you. I have earned your harsh judgment by imposing on you, with shameful cunning, Someone else's thing. What could you think? To be torn apart by all the ferocious thoughts of the Ruthless Soul? It is enough for you, To see clearly: a haze, not my chest, My heart is covered. Here, answer. Viola I feel sorry for you. Olivia This is a step towards love. Viola Oh no, not an inch; After all, everyone knows that we often feel sorry for our enemies. OLIVIA Well, I guess it's time to smile again. Oh, how easily poverty is proud! If you die by someone's prey, Let it be better a lion than a wolf! The clock strikes. The clock tells me: I'm wasting time. Do not be afraid, young man, I do not need you. And yet, when the mind and youth mature, Coy who will have a handsome husband. Your path is there, to the west. VIOLA Well, "Who's in the West?" Peace and joy to you! Nothing for the duke? OLIVIA Don't go! Please tell me what you think of me. Viola That you consider Yourself not what you are. OLIVIA And that's what I'm thinking of you. Viola You are thinking correctly: I am not me. OLIVIA If you were what I want! Viola Wouldn't that be better than this? I would like to! Now I'm a jester to you. Olivia Oh, how much beauty is in his grin On angry and contemptuous lips! The guilt of a murderer can hide in the shadows, Love cannot; her night is like day. Caesario, I swear by the blooming roses, Maiden honor, the truth of pure dreams, I love you so much that my passion, No matter how proud you are, I no longer melt. You will judge to yourself, maybe: Since I love, there is no need for me to love. Then prepare the opposite argument: Uninvited love is doubly sweet. Viola No, I swear by my youth and purity, I have not given my heart, breast and fidelity to a woman, and not one of Their mistresses will be named. So, goodbye; Never again will I bring the count's tears here. Olivia Come again; After all, you could only bend my dreams to the unwelcome one. Leaves.

SCENE 2

Olivia's house. Enter Sir Toby, Sir Andrew, and Fabian. Sir Andrew No, honestly, I won't stay a minute longer. Sir Toby Foundations, dear wicked! What are your reasons? Fabian You must state your reasons, Sir Andrew. Sir Andrew Why, I saw your niece do the earl's attendant such courtesies as she never did for me; I saw it in the garden. Sir Toby Did she see you, old chap? Tell me. Sir Andrew As clear as I see you now. Fabian It was clear evidence of her love for you. Sir Andrew What is it, you want to represent me as a donkey? FABIAN I will prove it to you logically, sir, by swearing reason and judgment. Sir Toby And they were already jury prosecutors before Noah was a sailor. (That is, before the "global flood", which is described in the Bible, when Noah built his ark.) Fabian She showed herself kind to this young man in front of your eyes, only to stir you up, to awaken your courage like a dormouse, to put fire into your heart and bogey to your liver. You should have approached her; and with a few excellent jokes, fiery new from under the stamp, you should have beat this young man so that he was numb. This is what was expected of you and this is what was missed: you gave time to wash off the double gilding of this case, and now, in the opinion of my mistress, you are sailing to the north, where you will hang like an ice icicle on the beard of a Dutchman, unless you redeem it with some some commendable daring of courage or politics. Sir Andrew When it comes to that, so brave, because I hate politics; for me, being a politician is no better than being a Brownist. (Around 1580 Robert Brown founded the Puritan sect.) Sir Toby Well, then build your happiness on the basis of courage. Challenge the count's youth to battle, wound him in eleven places; my niece finds out about it; and believe me, no pimp in the world will portray a man to a woman as flattering as the glory of courage. Fabian There is no other way, Sir Andrew. Sir Andrew Will any of you take my challenge to him? Sir Toby Go, write it with a warlike hand; be sharp and concise; witty or not, it would be all the same, it would be eloquent and full of ideas; mock him as much as the ink will permit; if you "poke" it three times, it will be useful, and fables - how many will fit on a sheet of paper, even if you have a sheet the size of a Ware bed (One innkeeper in the city of Ware, in order to attract the curious, put a giant a bed that could accommodate twenty-four people at a time. ) in England, there are so many bells and whistles. Go, get down to business. Yes, make sure that you have enough bile bile in ink, but write with a goose quill, it doesn't matter. Get down to business! Sir Andrew Where will I meet you? Sir Toby We will come to you in cubiculo. ("Bedroom" (lat).) Go. Exit Sir Andrew Fabian Is this little man dear to you, Sir Toby? Sir Toby It was me who came out dear to him, my dear: two thousand or so. Fabian A rare letter he will get. But you won't hand it over, will you? Sir Toby Whatever herd. And you, by any means, incite the young man to answer. It seems to me that they cannot be pulled together with bulls and cart ropes. As for Andrew, if you open him up and he has just enough blood in his liver to get bogged down in a flea's leg, I'm going to eat the rest of the anatomy. Fabian And his adversary, this young man, does not bear any special signs of cruelty on his face. Maria enters. Sir Toby And here my tiny king has arrived. Maria If you want fun and you want to laugh to the punch, come with me. This simpleton Malvolio has turned into a pagan, into a real renegade, because no Christian seeking salvation in the right faith will ever believe in such impossible absurdities. He is wearing yellow stockings. Sir Toby And the garters crossed? Mary of the Most Vile; like a teacher from a church school. I sneaked after him like a murderer. He fulfills all the points of the letter that I threw to deceive him: from smiles on his face he has more lines than on the new map with the addition of Indium; you have not seen anything like it. I'm tempted to throw something at him. I'm sure the mistress will beat him off; and he will smile and consider it a great favor. Sir Toby Come, lead us, lead us to where he is. Leave.

SCENE 3

Street. Enter SEBASTIAN and ANTONIO. SEBASTIAN I myself would not have bothered to bother you; But, since this work is pleasant to you, I will not scold you. Antonio I could not leave you: my desire, Sharper than steel, pushed me towards you; Not only the passion to see you (even though it could have been the only one to move on a greater path), But also the concern for your wanderings Among these places, which the stranger, Without experience and without friends, are sometimes greeted unkindly; my love, In addition, reinforced by fear, Has followed you. SEBASTIAN My dear Antonio, I can only say thank you in return. Thank you again; We often pay for services with this pitiful money; But if my wallet were as hollow as my heart, you would not be offended. Now what? Let's go see the city? Antonio This is tomorrow; First, you need to think about the shelter. SEBASTIAN I'm not tired, the night is far away; I ask you, let's go, comfort our eyes with the Glorified antiquity that this city is proud of. Antonio, forgive me, it's dangerous for me to walk the streets here. Once, in a clash with the count's fleet, I served in this kind of service, That, if I got caught, I would not be accountable. SEBASTIAN You killed many of him? Antonio Resentment was not so bloody, Although both the time and nature of the quarrel Could allow us to shed blood. Since then, there has been an opportunity to refund What we have taken; so, for the sake of trade, Our whole city did, but not me. For this, if I am caught here, I will pay. SEBASTIAN Take a walk carefully. Antonio I have to. Here, sir, wallet. It is most convenient for us to stop in the suburbs, at the "Elephant". I will go, I will agree, And you kill time, saturating the Mind with contemplation. I will be waiting for you. SEBASTIAN What's my wallet for? Antonio By some trifle, perhaps you will be tempted, but your funds, sir, are scarcely enough for empty purchases. SEBASTIAN I will say goodbye to you for an hour and I will be your treasurer. Antonio So at the Elephant. SEBASTIAN I remember. Leave.

SCENE 4

Olivia's garden. Enter OLIVIA and MARIA. OLIVIA I'm waiting for him; let's say he comes; How will I meet him? What kind of gift? After all, it is easier to buy youth than to beg. - I speak loudly. - But where is Malvolio? He is sullen and important And a suitable servant for me. Where is Malvolio? MARY He walks, madam, but in a very strange way. He's probably out of his mind, madam. OLIVIA How so? What happened to him? Is he raging? MARIA No, madam, he is only smiling; it is better that at your mercy there should be someone if he comes; because, she-she, the man has gone crazy. Olivia Go get him. (Maria exits) There is no difference between us, When sad delirium is similar to cheerful. Maria returns with Malvolio. Well, Malvolio? Malvolio Lovely madam, ho ho! OLIVIA Are you smiling? And I have very serious business for you. Malvolio Are you serious, madam? It's not hard for me to be serious: they get some stagnation in the blood, from these garters crossed. Well, so what? If this is pleasing to the eyes of one, then it will be with me, as in a very truthful sonnet: "Sweet to one, sweet to everyone." OLIVIA How are you feeling, dear? What's the matter with you? Malvolio My thoughts are not black, although my legs are yellow. It fell into his hands, and the orders will be fulfilled. I hope we know this gentle Roman hand? (Roman hand - Olivia's handwriting in Roman letters.) Olivia Would you like to go to bed, Malvolio? Malvolio To bed! Yes, dear, and I will come to you. Olivia God help you! Why do you smile so much and kiss your hand so often? Maria How are you, Malvolio? Malvolio To your question ... yes, the nightingales answer the jackdaws! MARIA Why are you before the lady with such ridiculous impudence? Malvolio "Do not be afraid of greatness" - that is how it was written. OLIVIA What do you mean by that, Malvolio? Malvolio "Some will be born great ..." Olivia Ax! Malvolio "... some reach greatness ..." OLIVIA What are you talking about? Malvolio "... but to others the greatness complains ..." Olivia Sing you heaven! Malvolio "... Remember who praised your yellow stockings ..." Olivia Your yellow stockings! Malvolio "... and wanted to see you in the garter belt ..." Olivia In the garter belt! Malvolio "... boldly, you will achieve everything if you only wish ..." Olivia Will I achieve everything? Malvolio "... If not, let me still see you as a servant ..." Olivia No, this is the real madness. Servant enters. Servant Madame, a young man from Count Orsino has come; I hardly persuaded him to return; he is awaiting the orders of your grace. OLIVIA I'll go out to him. Exit Servant. Dear Maria, let this friend be watched. Where is my uncle Toby? Let one of my people take him under special care; I would not regret half of my fortune, if only trouble did not happen to him. Exeunt OLIVIA and MARIA Malvolio Wow! Do you know who I am now? A man no lower than Sir Toby to watch over me! This is in direct agreement with the letter: she sends it on purpose so that I can show myself arrogant with him; because she instigates me to do this in a letter. "Cast off your humble skin," she says, "be hostile with a relative, harsh with servants; let your tongue speak majestic speeches; let yourself be unusual"; and accordingly indicates the necessary techniques, such as: a sullen face, sedate posture, slow speech, like some important gentleman, and so on. I got it; but Jupiter did it, and may Jupiter teach me gratitude! And when she was leaving now: "Let them look after this friend." Buddy! Not Malvolio, not by my position, but a friend. Yes, everything coincides with one another, so there is not a drachma of doubts, no scraps of doubts, no obstacles, no incredible or unfavorable circumstances ... But what can I say! .. There can be nothing that could come between me and the complete the horizon of my hopes. Yes, Jupiter, not me, is the performer of all this, and we must thank him. Maria returns with Sir Toby and Fabian. Sir Toby Where is he here, in the name of all that is holy? At least all the devils of hell gathered in a reduced form and the Legion itself possessed it, (A hint of the gospel story about the demon, which, being expelled, exclaimed "my name is Legion".) I will speak to him. Fabian Here he is, here he is! How do you feel, sir? How do you feel, my dear? Malvolio Go away! I'm firing you; do not hinder me from enjoying solitude; go away! Mary Hear how loudly the demon speaks in him! Wasn't I right? Sir Toby, the lady asks you to take care of him. Malvolio Xa-xa! Indeed? Sir Toby Well, well, hush, hush! He must be dealt with gently; give me one. - How do you do, Malvolio? How are you feeling? You know what, my dear: you renounce the devil; think, he is the enemy of the human race. Malvolio Do you understand what you are saying? MARY See how it hurts him when you say bad things about the devil? God forbid if he is bewitched! Fabian Take his urine to the fortuneteller. Maria Tomorrow morning, if only I'll be alive. I cannot tell my mistress how much she would not like to be deprived of it. Malvolio What are you, madam? Maria Oh my God! Sir Toby Please be quiet; the same is not possible? Can't you see that this is annoying him? Leave us alone. Fabian Nothing but gentleness; softer, softer; the demon is cool, but does not like abrupt treatment. Sir Toby Well, cockerel? How are you, chicks? Malvolio My dear sir! Sir Toby "Come with me, Brigitte." No, my dear! Majesty is not to face to play spillikins with Satan. Well, him in a noose, filthy coal miner! Mary Make him say a prayer, dear Sir Toby, make him pray. Malvolio Prayer, monkey? Maria No, positively, he doesn't even want to hear about the divine. Malvolio Let you all hang yourself! All of you are idle fools. My element is not yours. Soon you will not know yet. Leaves. Sir Toby Could it be? Fabian If it were now presented on stage, I would be ready to condemn it as an implausible fiction. Sir Toby He, brother, has contracted our scheme himself. Maria Now do not let him down, or the idea will fizzle out and disappear. FABIAN We’ll really drive him crazy. Maria The calmer it will be in the house. Sir Toby You know, we'll put him in the closet and tie him up. My niece is already sure that he is crazy; and so we can continue, for our amusement, and as punishment for him, until our very fun, tired to the point of breathlessness, prompts us to take pity on him, and then we will report our venture publicly and crown you as an identifier for the insane. But look, look! Enter Sir Andrew. Fabian More fun for a May morning. Sir Andrew Here's a challenge, read it. I can guarantee that it is with vinegar and pepper. FABIAN How spicy he is? Sir Andrew Yes, he will be convinced of it. Just read it. Sir Toby Give it here. (Reading) "Boy, whoever you are, you're just a bastard." Fabian Good and bold. Sir Toby (reading) "Do not be amazed or wonder in your soul why I call you that, for I will not give you any explanation for this." Fabian Nice note: it keeps you out of the hands of the law. Sir Toby (reads) "You appear to Madame Olivia, and she, in front of my eyes, treats you kindly; but you are insolently lying - that is not why I am calling you." Fabian Very brief and downright wonderful ... pointless. Sir Toby (reads) "I will lie in wait for you when you go home, and then, if you are lucky enough to kill me ..." Fabian Good. Sir Toby (reading) "... you will kill me like a tramp and a scoundrel." Fabian You are still on the windward side of the law; OK. Sir Toby (reading) "Be healthy; and may the Lord have mercy on one of our souls! It is possible that he will have mercy on mine; but I hope for the best, and therefore beware. Your friend, depending on your behavior, and your nemesis, Andrew Egyuchik ". If this letter does not stir him, then he is not able to move at all. I'll hand it over to him. Maria You will have a very convenient opportunity for this: he is just talking to the mistress and must leave soon. Sir Toby Go, Sir Andrew, guard him in the corner of the garden like a detective; as soon as you envy him, draw your sword and, exposing your sword, swear monstrously, because it often happens that a terrible curse, if shouted out sharply in a boastful voice, gives a better idea of ​​courage than even in practice it can be proved. Go! Sir Andrew Well, let me swear! Leaves. Sir Toby I will not transmit his letters; judging by his appearance, this is a young man, capable and well-mannered; his relations with his master and with my niece confirm the same, so that this letter, being utterly absurd, will not give rise to any fear in the young man; he will see that it comes from the dummy. No, my sir, I will give his challenge orally; I will give Egyuchiyka an extraordinary glory of courage and inspire a young man - and he, from his youth, will easily believe this - the most disgusting opinion about his fury, dexterity, ardor and fervor. This will scare both of them so much that they will kill each other with a look, like basilisks. (The Basilisk is a fabulous beast that seems to kill with one glance.) Olivia returns with Viola. FABIAN Here he goes with your niece; stay on the sidelines until he takes his leave, and immediately after him. Sir Toby In the meantime, I will try to come up with some terrifying expressions for the challenge. Exeunt Sir Toby, Fabian, and Maria Olivia I have told everything to the heart of stone, I have entrusted all my honor to him. I secretly condemn my guilt, But the imperious guilt is so stubborn, That it is not afraid of the court. Viola In all respects your passion The sorrow of my master. OLIVIA Here's a keepsake; this is my portrait. Do not be afraid: he cannot speak. And I ask you, come tomorrow, Is it possible a request, without prejudice to honor, which I could refuse you? Viola I ask you to love Orsino. OLIVIA But is it fair to give him what was given to you? VIOLA I give permission. Olivia Goodbye, see you tomorrow. I'm in the abode of hell For a demon like you, I'm glad to go down. Leaves. Sir Toby and Fabian return. Sir Toby Gracious sir, God bless you. Viola And you, sir. Sir Toby Whatever protection you may have, have recourse to it. What kind of insult you inflicted on him, I do not know, but your guard, full of hatred, bloodthirsty like a hunter, awaits you at the end of the garden; unharness your rapier, be haste in your preparations, for your enemy is agile, dexterous and deadly. Viola Sir, you are mistaken; I am sure that there is no person who would be in a quarrel with me; my memory is completely clear and free of any image of hurt done to anyone. Sir Toby You will see that it is not, I can assure you; therefore, if you value life in any way, prepare for defense, for your opponent has everything that youth, strength, agility and anger can endow a person with. Viola Excuse me, sir, who is he? Sir Toby Knight, ordained to this title with an unsharpened sword and for carpet reasons; ("Carpet knights" were those who were knighted not for the military, but for any other merits, and often just for money.) But in a duel this is the devil; there are three souls and bodies, separated by him, and his rage at this moment is so indomitable that only mortal cramps and a tomb can satisfy it. Odd or even - that's his word; either that or that. Viola I'll go back to the house and ask the hostess for some guide. I'm not a fighter. I have heard of people of this kind who deliberately quarrel with others in order to test their courage; apparently, this is a man with such manners. Sir Toby No, sir, his resentment stems from a very substantial resentment. So, get ready and grant his wish. You will not return back to this house unless you are willing to do with me what you can just as safely leave to him. So, forward, or the sword is bald; because you have to fight - it's decided, or get ready to carry iron with you. VIOLA This is as impolite as it is strange. I beg you, do me this kind service, ask the knight how I have offended him; it could only have been accidental, but not intentional. Sir Toby I'll do it. “Signor Fabian, stay with this gentleman until I return. Leaves. Viola Excuse me, sir, do you know anything about this case? FABIAN I know that the knight is furious against you to the point of deadly determination, but I know nothing else. Viola Please tell me who is this man? Fabian Judging by his appearance, he does not at all promise the miracles that you will find in him when you put his courage to the test. This, sir, is indeed the most agile, bloodthirsty and fatal enemy that you could find anywhere in Illyria. Would you like to go to him? I will make peace with him if I can. Viola You will oblige me very much with this; I am one of those who prefer spiritual weapons to secular ones; I'm not chasing to be famous for my temper. Leave. Returns Sir Toby with Sir Andrew. Sir Toby No, brother, it's a living devil; I have never seen such an Amazon in my life. I fought with him once with a rapier, a scabbard and everything else. It falls out with such a lethal onslaught that it is something inevitable; and on lights out, it hits you as surely as your feet slap on the ground on which they step. They say he was a swordsman for the Persian Shah. Sir Andrew Damn it! I don't want to mess with him. Sir Toby Yes, but now he cannot be relieved. Fabian can barely keep him there. Sir Andrew What a devil! If I knew he was brave and so skillful at swordsmanship, I would rather let him go to hell than challenge him. Let him give up this business, and I will give him my horse, gray Kapileta. Sir Toby I will propose to him. Stand here and be personable; it will all end without murder. (Aside) Hey, I'll ride your horse the way I ride you. Fabian and Viola return. (To Fabian) I get his horse for ending a fight. I convinced him that the young man is the devil. Fabian He has the same terrible opinion of him; trembling and pale, as if a bear was chasing him. Sir Toby (to Viola) Nothing can be done, sir; he wants to fight you for the sake of this oath; but only he thought more sensibly about this quarrel and now thinks that it is not worth talking about; therefore draw your sword to maintain his vow; he assures that he will not touch you. Viola (aside) Protect me, god! A little more - and I'm ready to say to what extent I am not a man. Fabian If you see him furious, back off. Sir Toby Go, Sir Andrew, nothing can be done: this noble wants, for the sake of honor, to fight you once; he, according to the laws of a duel, cannot evade; but he promised me as a nobleman and a soldier that he would not touch you. Go ahead and start. Sir Andrew I pray to God that he will keep his oath! Viola Trust me, this is against my will. They draw their swords. Enter Antonio. Antonio Attach the sword. If your opponent has offended you, I will answer for him; And if you are an offender, I stand up. Sir Toby Are you, sir? Who are you? Antonio I am a man who is ready for him and do more than I said. Sir Toby Well, if you are an intermediary, I am at your service. They draw their swords. The bailiff enters. Fabian Sir Toby, dear, stop! Bailiffs come here. Sir Toby. I'm yours in a minute. Viola Please, sir, please put in your sword. Sir Andrew Willingly, sir. As for my promise, I will keep my word; She walks easily and obeys the reins. 1st Bailiff Here he is. Do your duty. 2nd Bailiff Antonio, I will arrest you on the orders of Count Orsino. Antonio You, sir, misunderstood. 1st Bailiff No, not at all. I know your face well And without a sailor's cap. - Take him! He knows himself that we know each other. Antonio Well, I'll obey. (To Viola) What does it mean - to look for you! But there is nothing to do, I will come to the answer. What about you? After all, I'll have to ask you back for my wallet. My misfortune does not sadden me so much, Like the fact that I cannot help you. Are you confused? Don't be discouraged. 2nd Bailiff Come, sir. Antonio I will ask you for some of this money. VIOLA What money, sir? For your kindness to me, And seeing you, moreover, in such adversity, I, from my poor and pitiful means, Lend you as much as I can. My stock is modest; I will share my cash with you, Here are my half treasures. Antonio Would you like to give up on me? Have you forgotten everything I have helped you with? Don't be tempted by Misery; I do not want to be low And to remind you, for reproach, My services. Viola I don't know such; And I don't know you, voices, faces. Ingratitude in people is disgusting to me, Than lies, duplicity, idle talk, drunkenness, Any vice, whose corruption corrodes our living blood. Antonio O heaven! 2nd Bailiff Come, sir. Antonio Let me tell you. I snatched the boy, who stands here, From the mouth of the mortal, half-dead; I took care of him with such holy love; And to his image, in which he saw Everything that we honor, he was ready to pray. 1st Bailiff And what is it to us? We have no time. Went! Antonio And this god - what an insignificant idol! You humiliated beauty, Sebastian, Only the soul can stain nature. Only he is bad, whose life is not good. Good is wonderful; and the pretty rogue is an empty vessel polished by the devil. 1st Bailiff He is crazy. Well him! Let's go, let's go. Antonio Lead me. Leaves with the bailiffs. Viola He spoke so passionately that, of course, he believes everything. Should you believe him? Oh come true, come true, my desired dream, So that we, my brother, he could confuse! Sir Toby Come here, knight; come here, Fabian; let's peep a couple of wise sayings. Viola He called his brother; in my mirror My brother is still alive; he had a face exactly like me, and was always dressed In the same outfit, in the same color. Oh, if this meeting is destined, - Bitter wave is sweet with love! Leaves. Sir Toby The most dishonest, trashy boy and more cowardly than a hare. His dishonesty is evident from the fact that he left his friend here in need and denied him; and about his cowardice - ask Fabian. Fabian Coward, convinced coward, conscientious! SIR ANDREW Oh her, I’ll go after him again and beat him. Sir Toby Wali! Blow it well, but don't bare your sword. Sir Andrew If I don't strip ... Leaves. FABIAN Let's go and see how it ends. Sir Toby I bet you won't work out after all. Leave.

ACT IV

SCENE 1

In front of Olivia's house. Enter Sebastian and Jester. Fool Do you want to assure me that I was not sent for you? SEBASTIAN Come on, you are some kind of madman. Leave me alone! Jester Well played, honestly! Yes, I do not know you, and my mistress did not send me after you to ask you to come and talk to her; and your name is not Monsieur Caesario; and this is not my nose. Everything is not the way it is. SEBASTIAN Please, broadcast your madness Wherever you want, but not here. We are strangers. Jester Broadcast my follies! He heard this word from some great man and is now applying it to the jester. Broadcast my follies! I'm afraid that the whole world, this great lump, did not turn into a metropolitan thing. - I ask you all the same, unbelieve your isolation and tell me what to broadcast to my mistress. Tell her that you are coming? SEBASTIAN I beg you, obnoxious Greek, go away. Here's the money, on; and you will hang around here, I will pay back worse. Jester Honestly, you have a generous hand. Clever people who give money to fools are renowned if they pay well. Enter Sir Andrew, Sir Toby, and Fabian. Sir Andrew Aha, sir, I see you again! There you are! SEBASTIAN Here's to you, lo and behold! Have they all gone mad? Sir Toby Stop, sir, or I'll throw your sword over the roof! Fool I will immediately report this to the lady. I wouldn't trade my skin for twopence with either of you. Leaves. Sir Toby Now, sir, stop! Sir Andrew No, leave him. I will process it in a different way. I will prosecute him for beatings, if there is a law in Illyria; even though I hit him first, it doesn't matter. SEBASTIAN Away your hand! Sir Toby No, sir, I won't let you in. You, my young warrior, hide your iron; you are so furious. Well! SEBASTIAN I won't give myself to you. So; Now what? Get out, or grab the sword. Sir Toby What, what? Well, no, then I have to get an ounce or two of this quick blood of yours. Olivia enters. Olivia Stop, Toby! I command, stop! Sir Toby Madame! OLIVIA When's the end? A dissolute man, Born for caves and wild mountains, Knowing no courtesy! Out of sight! “Don't be offended, dear Caesario. - Go away, brawler! Exeunt Sir Toby, Sir Andrew, and Fabian I ask you, dear friend, Let your mind, not passion, create its own judgment Above this rude and crazy intrusion Into your peace of mind. Let's go to my place. When you hear how many stupid tricks this ignoramus has made, you will smile at this one yourself. I ask, let's go. Don't refuse. Nasty person! Threatening you, he cut my heart. SEBASTIAN What's all this? Where is the wave going? Am I mad or in the grip of sleep? I feel as if I am immersed in oblivion; (Summer - in ancient mythology - is a river of oblivion.) And if I sleep, let the dream last forever! OLIVIA Come on, please, trust me with everything. SEBASTIAN Yes, I'm ready. OLIVIA So be it. Let's go! Leave.

SCENE 2

Olivia's house. Enter MARIA and JOKE. Mary Here, please, put on this robe and this beard; let him believe that you are Sir Topas, priest; and hurry up; and in the meantime I will go for Sir Toby. Leaves. Jester Okay, I'll put it on and pretend. It would be good if I were the first to pretend to be in such a cassock. I am not tall enough to be representative in this sapa, and not thin enough to pass for a diligent scribe; however, being considered an honest person and a good boss is no worse than being reputed to be a concerned and great scientist. The allies have come. Enter Sir Toby and Maria. Sir Toby Bless you Jupiter, Mr. Pop. Jester Bonos dies, Sir Toby; for, as the ancient Prague hermit, who had never seen a pen or ink, very wittily said to the niece of King Gorboduk: "That which is, is," so I, being the lord of the priest, am the lord of the priest; for what is “that” if not “that”, what does “is” mean, if not “is”? Sir Toby Talk to him, Sir Topas. Jester Hey, how are you there! Peace to this dungeon! Sir Toby Well the canalya pretends! Excellent canal. Malvolio (from within) Who's calling? Jester Sir Topas, priest who came to visit Malvolio, a madman. Malvolio Sir Topas, Sir Topas, good Sir Topas, go to my mistress. Jester Begone, exorbitant devil! How you torment this man! All you say is that about the ladies? Sir Toby Well said, Mr. Pop. Malvolio Sir Topas, no one in the world has been treated like that; good sir Topas, do not think that I am mad; they locked me here in hideous darkness. Fool Ugh, dishonorable Satan! I call you as humble as possible, for I am one of those courteous people who behave courteously even with the devil. Are you saying it's dark in here? Malvolio As hell, Sir Topas. Fool Have mercy, but here the windows are Lanterns, transparent as shutters, and the overhead light to the north-south is radiant like ebony; and you complain about denial? Malvolio I am not mad, Sir Topas; I'm telling you - it's dark here. Fool Madman, you are deluded; I say, there is no darkness but ignorance - in which you are even more lost than the Egyptians in their fog. Malvolio I say - this room is dark as ignorance, even if ignorance is dark as hell; and I say - no one in the world has been so offended. I am no more crazy than you; experience it with any coherent conversation. Jester What is Pythagoras's opinion on game? (An allusion to the teachings of Pythagoras about the transmigration of souls from human bodies to animal bodies and vice versa. ) Malvolio That the soul of our grandmother can dwell in a bird. Jester What do you think of his opinion? Malvolio I think of the soul nobly and in no way approve of his opinion. Jester Farewell. Be in darkness. Until you agree with the opinion of Pythagoras, I will not recognize you in my mind; and be careful not to kill the sandpiper, so as not to deprive the soul of your grandmother. Goodbye. Malvolio Sir Topas, Sir Topas! Sir Toby The most excellent Sir Topas! Jester But I'm a jack of all trades. Maria You could have done all this without a beard and cassock; he doesn't see you. Sir Toby Talk to him in your usual voice and come tell me how you found him; I would like to end this venture. If it can be released in a decent manner, then it is better to do so; I am in such trouble with my niece now that I could not have finished the game without danger to myself. Come quickly to my room. Exeunt Sir Toby and Maria Jester (singing) "Hey Robin, dear Robin, how is your dear?" Malvolio Jester ... Jester "She's not good with me." Malvolio Jester ... Jester "Oh, why is that?" Malvolio Jester, listen ... Jester "She's dear to another ..." Who's calling, hey? Malvolio Good fool, if you want to do me a favor, get me a candle, a pen, ink and paper; I give you the word of a nobleman, I will be grateful to you forever. Jester Mr. Malvolio? Malvolio Yes, good fool. Fool Ah, sir, how did you decide your five minds? (Five faculties of the mind, which were considered common sense, imagination, judgment. Fantasy and memory.) Malvolio Jester, no one in the world has offended so cruelly. I'm as sane, fool, as you are. Jester Just the same? Then you are really insane if you are no more mental than a fool. Malvolio They have taken possession of me here, keep me in the dark, send priests and donkeys to me and do everything they can to drive me crazy with their insolence. Jester Think what you say! The priest is here! - Malvolio, Malvolio, heaven heal your mind! Try to sleep and do not talk idle nonsense. Malvolio Sir Topas ... Fool Don't talk to him, good man. - Who, sir, am I? I, sir, do not lead. God help you, good Sir Topas. “Well, amen. - I will, sir, I will. Malvolio Fool, fool, fool, listen ... Fool Ah, sir, calm down. What did you say, sir? It hits me for talking to you. Malvolio Good fool, get me some fire and paper; I tell you, I am as sane as anyone else in Illyria. Fool Ah, if only so, sir! Malvolio By this hand, yes! Kind jester, ink, paper and fire; and take what I write to the lady; you will earn on this, as on any other letter. Fool I'll get you. But tell me the truth: are you really crazy or are you just pretending? Malvolio Trust me, I'm not crazy. I tell you the truth. Jester No, I will never believe a madman until I see his brains. I'll bring you fire and paper and ink. Malvolio Jester, I will compensate for this in the highest measure. Please come down. Jester (sings) "I will rush And come back Here to you now, Jumper of all, Like an ancient Sin *, To arrange you. He with a sword sword Furious tornado Flies into the devil: Ahti, ohti, Cuts the claws. Be healthy, rake." (* The personification of Sin or Vice is a traditional character in medieval theater.) Leaves.

SCENE 3

Olivia's garden. Sebastian enters. SEBASTIAN Here is the air, here is the solemn sun And here is her gift, this pearl, Here, in reality. Though I am shrouded in a miracle, there is no madness in it. But where is Antonio? I did not find it at the Elephant; But he was there and, they say, went to look for Me. His advice would do me a golden service. Although my soul argues with feeling And here is a mistake in something, not delirium, But this case, these waves of happiness So surpass all examples, That I am ready not to believe neither the eyes nor the mind, which will prove anything to me, but not mine madness. Or is she insane? But then She would not have been able to run her house, Decide matters, give orders So evenly, judiciously and firmly, As I have seen. There is something Wrong here. But here she comes. Enter OLIVIA and PRIEST. OLIVIA Don't judge my haste. If you want, Come with me and with the holy father To the chapel nearby; there, in the sacred passage, You, before him, give me a great vow of Your love, so that my overly jealous and timid soul Be calm. It will be a secret, Until you yourself stop time, When we perform the wedding ceremony, As my dignity requires. What are you going to say to me? SEBASTIAN Let your kind man lead us; I will take an oath, and I will give it forever. OLIVIA Come on then, Father; let the sky shine brightly over my vow. Leave.

ACT V

SCENE 1

In front of Olivia's house. Enter Jester and Fabian. Fabian Listen, if you love me, show me his letter. Fool And you, the kindest Mister Fabian, grant me another request. Fabian Anything you want. Fool Don't ask me to show you this letter. Fabian This is called giving a dog and demanding the dog back as a reward. Enter Duke, Viola, Curio, and Dignitaries. Duke Do you, my friends, belong to Lady Olivia's house? Jester Yes, sir; her belongings. Duke I know you well. How are you, buddy? Fool Yes, sir, it's good with enemies, bad with friends. Duke Quite the opposite: it's good with friends. Fool No, sir, it’s bad with them. Duke How is this so? Fool Have mercy, sir: they praise me and make a donkey out of me, but my enemies - they tell me straight out that I am a donkey; so that my enemies, sir, help me in self-knowledge, and my friends deceive me; so if conclusions are like kisses and four denials are equal to two statements, then it will be treated that I feel bad with friends, but good with enemies. Duke This is great. Fool No, sir, I will say it on honor, though you want to be one of my friends. Duke But you shouldn't feel bad with me. Here is the gold one. Fool Sir, it will not be double-minded if you double your generosity. Duke Oh, you're giving me bad advice. Fool Put your conscience in your pocket this time, sir, and let your flesh and blood follow the advice. Duke So be it, I will take upon myself the sin of double-mindedness; here's another one for you. Jester Primo, secundo, tertio is a good game; and there is an old saying that the third pays for everyone; and the music in three counts, sir, is a glorious dance music; and the bells of St. Bennett, sir, may remind you: one, two, three. Duke I have more money, don't joke at the moment; if you report to your mistress that I have come to talk to her, and bring her with you, then this could awaken my generosity again. Fool Excuse me, sir, pacify your generosity until I return; I'm going, sir; but do not think that my desire to receive is the sin of covetousness. So, sir, let your generosity, as you say, suck a little; I'll wake her up now. Leaves. Viola Here is the man who saved me. Enter Antonio and the Bailiff. Duke His face I remember well, Although the last time he was smeared And black, like a Vulcan in the smoke of war; He was a captain on a pitiful ship, The smallest size and draft, And with him he clung so desperately In the most beautiful of our ships, That even envy and the language of loss gave him honor and glory. What about him? 1st Bailiff Orsino, here is Antonio, the one That repulsed the "Phoenix" with the Kandyan cargo, And he also took the "Tiger" on board, When your nephew lost his leg; Here, in the street, forgetting both shame and right, He fought in a duel and was captured. Viola He stood up for me, sir; But in the end he spoke so strangely that his speech could only be delirium. Duke Illustrious pirate, brigand! How dare you appear to those Whom you have turned, at the cost of blood, Into your enemies? Antonio Orsino, sir, Let me drop these titles: I am not a pirate or a sea robber, Although, I do not argue, we are enemies with Orsino. And I was brought here by witchcraft: He, this ungrateful boy, From the foamy mouth of the furious sea Was saved by me; he died completely; I returned his life to him and added My love to it, without measure and limit, dedicating everything to him; For his sake, For one love, I entered this dangerous and hostile city; In his defense, he drew his weapon; When they seized me, he, insidious, Not wanting to share the danger with me, He began to deny our acquaintance in the eyes And for me he became instantly distant For twenty years; did not give the wallet, which I had lent him half an hour before. VIOLA How can this be? Duke Tell me, when did he come to this city? Antonio Today, sir; and before that For three months in a row, without interruption, We were inseparable day and night with him. Enter OLIVIA and ROOM Duke The Countess is coming; the firmament descended to the ground. - Listen, friend, your words are insane: He has been serving me for three months. But this is after. - Get away with him. Olivia In what, my lord, if possible, could Olivia please you? - Caesario, you did not keep your word. Viola Madam! Duke Charming Olivia ... Olivia What's the matter with Caesario? - My gracious Duke ... Viola My Duke says; it is my duty to shut up. OLIVIA But if, sir, the singing is still the same, - He is unbearable to my hearing, Like screams after music. Duke Still Ruthless? OLIVIA Still constant. Duke What? In coldness? Cruel creature, At Whose ungrateful altars My soul humbly offered up the Most sacred sacrifices! What should I do? OLIVIA Everything, sir, you will. Duke What if I found the resolve, Like an Egyptian robber in the hour of death, To kill what I love? And in the wild passion There is nobility. Listen to me: Since you have not appreciated my loyalty, And I partly know the weapon with which I will be plucked out of your senses, Let the insensible tyrant live; But this, dear to you, favorite, Who - God knows - is dear to me dearly, I will tear him away from these callous eyes, Where he is crowned, in spite of me. - Go with me; my mind is ripe for evil: I will slaughter you, my fragile lamb, Taking revenge on the heart of a raven in the chest of a dove. Viola And I, just to calm you down, Ready, glad, happy to die a hundred times. OLIVIA Where is Caesario going? Viola For the One Who is dearer to me than eyes and mortal life, More dear than all the women of the universe. When I lie, then let it fall in blood, O judges of heaven, slanderer of love! OLIVIA Oh, how monstrous! What a deception! Viola Who deceived you? Who offended you? Olivia Or have you forgotten yourself? Just now, now ... - Call the priest. Exit one of the servants. Duke Follow me. OLIVIA Where to? Caesario, husband, wait! Duke Spouse? Olivia Spouse. Let him give the answer himself. Duke Her husband? VIOLA Am I, my sir? No. Olivia Alas, your low fear compelled you to deny yourself; but no, don't be afraid, Caesario; take your destiny; Be who you are - and you will be equal to what you are afraid of. - (The Priest enters.) Good hour, father. Father, I ask you, in the name of dignity, To declare here - even though we decided to Keep in the darkness what an unexpected chance Opened before the deadline - everything that happened Between this young man and me today. Priest Union of unbreakable love, Marked by the joining of hands, Sealed by the kiss of the lips And welded by the exchange of your rings; Moreover, the rite of the holy contract is sealed by my testimony as it should. Since then, the clock tells me, I walked to the grave for only two hours. Duke Fake Puppy! What will you become when gray hair appears in the wool? Or, perhaps, multiplying the lie, You will knock yourself over with the footboard? Goodbye take her; but that you never cross my path! Viola I swear to you ... Duke Oaths are out of place here! Cowards should be at least a bit honest. Enter Sir Andrew. Sir Andrew For God's sake, doctor! And send a doctor to Sir Toby at once. OLIVIA What's up? Sir Andrew He smashed my head, and Sir Toby smashed my head. For heaven's sake, help! I'd give forty pounds just to be home now. Olivia Who did this, Sir Andrew? Sir Andrew Earl nobleman, a certain Caesario. We thought he was a coward, and this is the devil himself in the flesh. Duke My nobleman, Caesario? Sir Andrew Dear God, he's here! You broke my head for no reason, and what I did was Sir Toby instigated me. VIOLA What do I have to do with it? I've never touched you in my life. You drew your sword for no reason, But I bowed you to the world, without touching you. Sir Andrew If to smash a head is to touch, so you touched me; I see you don’t care about your smashed head. Enter Sir Toby and the Fool. Here comes Sir Toby hobbling; he will tell you too; if he hadn't been drunk, he wouldn't have tickled you in that manner. Duke Well, gentleman, how are you? Sir Toby What is it! Wounded, and business is over. - Fool, have you seen the Dick the doctor, fool? Jester Ax, Sir Toby, he's been drunk for over an hour; his eyes rolled back at eight in the morning. Sir Toby In that case, he is a brute and an indecent person. I hate drunken brutes. OLIVIA Take him away! Who is it that hacked them so? Sir Andrew I will help you, Sir Toby, because we will be bandaged together. Sir Toby Will you help? Such a donkey's head, and a fool, and a swindler, a lean swindler, Fefela! OLIVIA He must lie down and see the wound. Exeunt Jester, Fabian, Sir Toby, and Sir Andrew. Sebastian enters. SEBASTIAN I am very upset that your relative has been wounded by me; but even if he were my brother, I would have been forced to such protection. You are looking at me with a strange look; I understand you are offended. Forgive me, darling, at least In the name of our so recent vows. Duke One face, one dress, voice - And two! As in magic mirrors! Sebastian Antonio, my dear Antonio! What a torment I have been every hour, Since we parted! Antonio Are you Sebastian? SEBASTIAN Are you afraid of this? Antonio But how could you be so divided? Two halves of an apple are no more alike Than these two. Who is Sebastian? Olivia Unbelievable! SEBASTIAN Not me, is it? I have no brothers; And there is no divine quality in me to Be here and everywhere. And my sister was swallowed by the blind waves of the sea. Are you not related to me? What is your name? Where are you from? Viola I am a messaline; My father was called Sebastian, And my brother was like this Sebastian, In such a dress he lay down in his wet coffin; And if spirits can incarnate, you have come to frighten us. SEBASTIAN I am spirit and am, But clothed in this coarse form, Which I inherited from the womb. And if you were a woman, - the only discord in this, - I would have doused your cheeks with tears, Saying: "Hello, deceased Viola!" Viola My father had a birthmark above his eyebrow. Sebastian Moy was with the same. Viola He died on the day when thirteen years passed since the birth of Viola. SEBASTIAN Oh, this memory I keep alive! Yes, he did his earthly work, When his sister was thirteen years old. Viola Although we have no other hindrances to happiness, Than this strange man's attire of mine, Do not hug me, not convinced by the Comparison of circumstances, places and terms, That I am Viola; to check everything, Here we go to one of the captain; My clothes are there; he helped me enter the ducal service. And after that my whole life Passed between the sovereign and the countess. SEBASTIAN (to OLIVIA) So you were wrong, madam; But nature directed you right. You and the girl wanted to get engaged And you are not deceived in this, I swear: The one with whom you became engaged is also a virgin. Duke Are you confused? He is noble in blood. Since this is so and the mirror is true, That is, my share is in ruin. (To Viola) My boy, you told me hundreds of times that I am dearer of all women to you. Viola And I will repeat these speeches under an oath, And I will keep these vows in my soul, As this firmament keeps the fire, which is different from the night. Duke Give me your hand; And show yourself in your girlish dress. Viola It is kept by the captain with whom We went ashore; but he is now sitting in prison, on the complaint of Malvolio, the One who serves in the retinue of the countess. OLIVIA Free him. - Call Malvolio. - Oh, yes, I remembered: after all, he, poor fellow, I heard, is completely upset in his mind. The Jester returns with the letter and Fabian. In such a disorder of thoughts I myself, That I forgot about his madness. How is he, tell me? Fool To tell the truth, madam, he fights off Beelzebub as best a man in his position can; wrote you a letter here; I should have given it to you this morning, but the madman's messages are not the gospel, so they are of little importance when delivered. Olivia Open it and read it. Jester So look, learn when a fool speaks on behalf of a madman. (Reads) "God knows, madam ..." OLIVIA What is it? Are you crazy? Fool No, madam, I only read crazy; if it is your grace that it should come out in the proper form, you must allow the great voice. OLIVIA Please read it properly. Fool I do just that, madam; to read it properly, you have to read it like that; so bow your ears, princess. OLIVIA (to Fabian) You read it. Fabian (reading) "God knows, madam, you offend me, and the world will know it. Even though you plunged me into darkness and gave your drunken uncle dominion over me, I still control my feelings no worse than your grace. me your own handwritten letter, prompting me to accept the appearance that I have mastered; which, I have no doubt, will prove my complete correctness, and will give you complete disgrace. Think of me whatever. oppressed by Malvolio. " Olivia Did he write this? Fool Yes, madam. The Duke of Madness is not much here. Olivia Fabian, Free him; deliver here. Exit FABIAN. My duke, if you agree to see your sister in me, and not your spouse, May the same day be crowned with two unions Here, in this house, I am a guest. Duke I answer with joyous agreement. (To Viola) And you are free; For past service, In such a discord with female nature, In contradiction with tender upbringing, For the fact that I have been your master for a long time, Here is my hand for you to be the mistress of the Master. OLIVIA And to me a sister. Fabian returns with Malvolio. Duke So this is a Madman? OLIVIA Yes, he is. What, Malvolio? Malvolio Madam, I am offended by you, I am cruelly insulted. Olivia Me, Malvolio? Malvolio Yes, by you. Here, please read this. The hand is a draw like yours. Write Not in this handwriting, not in this syllable; Say that the seal, that the thought is not yours. You won't tell. Well, then confess And explain to me, for good honor, Why did you entice me so clearly, Tell me to walk with a smile, in yellow Stockings, in garters, crosswise, looking gloomily At Sir Toby and the lesser servants; When I fulfilled everything in humble faith, Why did you lock me in the dark, In the prison where the priest visited me, And made me the last of the laughing stocks, What kind of light did you see? Why, tell me? Olivia Alas, Malvolio, the handwriting is not mine, although, I must confess, there are many similarities. Beyond all controversy, it is the hand of Mary. I remember: about your madness She told me; and you appeared with a smile and in the form as in the letter It says here. Please hold back. A very cruel joke has been played with you; But we will find the guilty ones, and you will be the Plaintiff and the judge in your own case. Fabian Madame, let me say, And let enmity and future strife Do not darken the solemn hour that has come here. In such a hope, I boldly confess that I and Toby have rigged Malvolio this thing, In view of his bad and impolite Actions against us. The letter was written by Mary, under pressure from Sir Toby, For which he married her as a reward. But since our anger was cheerful, Laughter is more appropriate here than revenge, In addition, if we rightly weigh Mutual grievances. OLIVIA Oh, poor man, how you have been treated! Jester Well, "some will be born great, some will achieve greatness, while others will be thrown greatness." I, too, sir, took part in this interlude, as Sir Topas, sir; but it is all one. "By golly, jester, I'm not crazy." Remember? "Madam, what do you find funny in this brainless bastard? If you yourself do not smile, his mouth is riveted." This is how the whirling of time brings retribution with it. Malvolio I will have my revenge on all your gang. Leaves. OLIVIA He was very offended. Duke Let them follow and incline to peace; He has to tell us where the captain is. And there will come a golden time And a solemn union of our souls. In the meantime, dear sister, we will be your guest. Caesario, let's go; I will call you that while you are a boy. And in the new shine of a woman's outfit - My queen and my joy. Exeunt all but the Jester. Jester (sings) "When I was tall and was still from the top, There was just the wind and rain, I fooled everything as I could, But the rain, it gushes every day. When I reached adulthood, Here, etc. A neighbor was hiding from the rogue, But after all, etc. When - alas! - I took my wife, Here, etc. I waged a war with her uselessly, But, after all, etc. When I became poor and old, Here, and so on. From beer in the head frenzy, But, and so on. D. Our world began a long time ago, Here, etc. But all the same, since you find it funny, We want to make you laugh every day. " Leaves.

TWELFTH NIGHT, OR WHAT YOU WILL

Text. This comedy was first published in F1 1623. This is a very good text, almost not requiring any corrections. Dating and first performances. The dating of the play presents no particular difficulties. The comedy is not mentioned in the Mires list of 1598. On the other hand, according to Sir John Manningham, member of the Middle Temple Law School, London, on February 2, 1602, a comedy entitled Twelfth Night, or Whatever was staged in Middle Temple. In all likelihood, the play arose in 1600. In addition to the aforementioned production, the play was staged at court in 1618 and then again, under the title "Malvolio", in 1623. Its popularity is confirmed by the accolades lavished on it back in 1640 by Digges, which especially celebrates scenes with Malvolio. Title. The first title of the play does not refer to its content, but to the time of the production (at the first performance). "Twelfth Night" (twelfth from Christmas) falls on the evening of January 6, ending the period of Christmas games, rituals and performances. On this evening, performances have long been given at the English court. The second title, apparently, contains a hint of the diversity of images and episodes of the play: the viewer is warned that he will see all sorts of things - "anything". Sources. The story of two twins and their adventures, connected with the most amusing misunderstandings and happily ending in two happy marriages, underlying the play, has been processed countless times by Italian novelists and playwrights, as well as their translators or imitators in various European countries. But the only version of this plot that Shakespeare used directly is the second story, entitled The Duke of Apollonius and Silla, from the compilation of the third-rate English writer, Barnaby Rich, Farewell to the Craft of War (1581). From the dry and tasteless story of Rich, Shakespeare created a true masterpiece, filling his play with subtle lyricism and sharp humor, as well as enriching it with additional images and motives. The second storyline - the story of Malvolio - is, apparently, the fruit of the free fiction of Shakespeare, who wholly belongs to the creation of images not only of Malvolio himself, but also of Sir Toby Belch, Andrew Aiguchik, Maria, Feste and Fabian. Time of action. The play unfolds over three days, Day 1: Act I, Scenes 1-3. Interval 3 days. Day 2: Act I, Scenes 4-5; act II, scenes 1-3. Day 3: Act II, Scenes 4-5; act III; act IV; act V

NOTES ON THE TEXT OF THE PIECE

Characters: Some characters bear semantic names: Belch means "belch"; Egyuchiyk - "having pale cheeks" (from fever - ague); the name Malvolio is derived from ital. mala voglia, loosely translated "malicious". Act I, scene 1 37. And the liver, brain and heart. Probably a reflection of the old scheme of Plato, where these organs are depicted as the abodes of the soul. Act I, Scene 2 56. Introduce me as a eunuch to him ... Further these lines do not receive any resonance. Viola-Cesario is treated like a man by everyone. Act I, Scene 3 76. Strong Canarian wine (from the Canary Islands) was highly prized in England. Act I, Scene 5 116-447. Lethargy ... liturgy. In the original, it is similar in sound, but a different play on words: lethargy - "lethargy" and lechery - "voluptuousness". Act II, Scene 3 9. According to the teachings of the ancient philosophers, the world consists of four elements: earth, water, air and fire. 84-83. Rumble like coppersmiths. Itinerant coppersmiths, go tinkers, enjoyed a very bad reputation in the era of Shakespeare. They were considered vagabonds, drunks and thieves. Act II, Scene 5 20. The tickled trout. This peculiar way of catching trout is described in Cohen's book "The Shelter of Health" (1395). Act III, Scene 1 55. Cressida was a beggar. The gods punished Cressida for her betrayal of Troilus by condemning her to poverty. 106-107. My ears are more readily captivated by it than by the music of the spheres. According to the ancients, the world consisted of a series of moving crystal spheres with stars set in them, which revolved inside a sphere of fixed stars that encompassed the world. When the sphere rotated, these emitted supposedly musical tones, combined in harmony, heard only by the elect. 455. "To the West?" Viola jokingly reproduces the cry of London boatmen ("To the west?" - "To the east?"), Who were picking up a group of people who wanted to drive along the Thames in one direction or another. Act III, Scene 2 72-75. He has more lines from smiles than on the new map with the addition of Indiums. The geographic map with the first plotted on it of both Indies was shortly before printed in England. Act III, Scene 4 54. The nightingales answer the jackdaws - a slightly modified English proverb. 410. "Come with me, Brigitte" - the beginning of a popular ballad at that time. 157. You are still keeping the windward side of the law. The side of the ship facing the wind is called the windward side; the side of the ship protected from the wind is the leeward side. 264. I have never seen such an Amazon in my life. In the original: firago, a distortion of the Italian word virago - "courageous woman". Act V, scene 1 54-52. All this jester's tirade is a parody of medieval reasoning about the mystical meaning of different numbers; for example, "five" signifies: five wounds of Christ, five senses, five church commandments, etc. 112. There was a story about a certain robber from Egypt, who, being surrounded by persecutors, killed his beloved and destroyed all his riches.

Twelfth Night is one of Shakespeare's unpleasant plays. This is not a comedy for schoolchildren, contrary to popular belief. Most of the characters are not individual enough to have comic depth, and at the time of writing, Shakespeare did not seem to have a penchant for fun at all. The genre conventions of comedy did not allow Shakespeare to express his feelings directly, but the author's mood distorts the comic effect. It seems, especially when you read songs, that the "fun" in "Twelfth Night" is only present in quotation marks. In Shakespeare's work, "Twelfth Night" is followed by tragedies and the so-called "dark comedies" - "Measure for Measure" and "All's Well That Ends Well."

Shakespeare's comedies can be classified into four varieties. The first two of them are classic versions.

(1) Plotinov's comedy, or a sitcom, for example, "The Comedy of Errors" and "Two Veronese". Here the plot prevails over the characters.

(2) A comedy of morals or "temperament" akin to Ben Johnson's plays, such as The Taming of the Shrew. Katarina, the obstinate, is an example of a "temperamental" character. Later, Shakespeare uses temperament in tragedies - temper dominates the characters of tragic heroes. "Hamlet" and "Timon of Athens" are tragedies of morals.

(3) A comedy of characters. In these comedies, the characters are shown in all the variety of their relationships with the environment. Shakespeare studies personality outside of its social status and environment, but does not forget about its belonging to a certain class. Examples of character comedy include Love's Labour's Lost, The Merchant of Venice, where Shakespeare explores the character of the "outcast" Shylock, Much Ado About Nothing, where Don Juan appears as a stranger, Henry IV, in which the prince sitting in a tavern, epitomizes the contrast between personality and social environment, "As You Like It", where the rural environment and life at court are opposed, and Rosalind's feigned attire is associated with her character (this is not just a convenient device).

(4) A comedy of feelings is a lyrical drama of the last Shakespearean plays, which can only be called comedies very conditionally. "Pericles" "Cymbelin", "Winter's Tale" and "The Tempest" - all these plays are close to the theater of masks and the opera. The plot in them is subordinated not to the characters, but to the pattern of passionate feelings, in other words, it is a comedy of transformations. Characters are transformed in the course of the action, although they are often too old and burned by life to be of interest. The latest plays are more a dramatization of the human soul than a depiction of people you might know or have a drink with.

"Twelfth Night" cannot be attributed to any of these varieties. What is the reason? Perhaps Shakespeare intended the play for a narrower audience than at the Globe Theater, for an audience more select and not inclined to watch entertaining comedy.

Shakespeare again, as in "The Comedy of Errors," uses twins in this play. The motives prompting Viola to change into a man's dress are quite conditional and serve only to set the plot in motion. The role of the shipwreck is reduced to correlating the characters in the space of the play. In Shakespeare's latest plays, the complex and elaborate theme of storms and shipwrecks symbolizes death, rebirth, and cleansing through suffering.

The characters of "Twelfth Night" are rich and idle people, and their society is permeated with melancholy, in contrast to the social characteristics and mood of the characters of "The Merchant of Venice". There are characters in both plays who do not like music - Shylock in The Merchant of Venice and Malvolio in Twelfth Night. However, for those Illyrians who love music, it often brings sadness. Sadness shows through in the opening monologue of Duke Orsino:

Love is nourished with music; play

More generously, beyond measure, so that, in satiety,

Desire, tired, exhausted.

That song again! The one who died away.

Ah, he caressed my ears like a sweet sound,

Which, blowing over the ridge of violets,

Steals and gives waves of scent.

Enough. No - he was gentler once.

Act I, Scene 1.

Compare with the lyrical words about the "sound of music" that Lorenzo calls Jessica in Belmont.

See how the firmament

The whole is lined with gold circles;

And the smallest, if you look,

Sings in its motion, like an angel,

And echoes the young-eyed cherubim.

Such harmony lives

In immortal souls; but for now she

An earthly, dirty shell of ashes

Covered roughly, we don't hear her

"The Merchant of Venice" Act V, scene 1.

The Illyrian society in Twelfth Night is better aware of itself, more bored and less productive than the society in The Merchant of Venice, where people are busy - they trade and earn money. The attitude towards money in these two plays is also different. The characters of the "Merchant of Venice" are generous and careless - they easily part with money. On the contrary, in "Twelfth Night" the attitude to money is cynical - everyone realizes that services have to be paid for, that people can be bought and that

money allows you to achieve what you want. There are many examples of this in the play. Sir Toby says that "such gallant men" as Sir Andrew Aiguchik are "few in Illyria" because "he receives three thousand ducats a year" (I. 3). Viola promises to "pay handsomely" to the captain for introducing her to the Duke of Orsino as Caesarino's boy (I.2). And Olivia, having fallen in love with Caesarino, reflects on what she will meet him with, "what a gift", because "youth can be easier to buy than to beg" (III. 4).

Women play a key role in Twelfth Night. Malvolio lacks self-confidence and composure, and other men, except for Antonio, are completely inactive. So, only women have will in the play, and this is a sign of a sick society. Mary, in love with Sir Toby, tricked him into marrying him. Olivia is eager to seduce Caesarino as soon as she meets him. Viola appears to be a "devourer of men". All the ladies in the play achieve what they strive for.

Society in Twelfth Night looks almost obscene. The characters are openly chasing profit, they are, in general, pitiful, and often insidious people. Unlike Falstaff (who, at first glance, can be compared with Sir Toby), they do not have wisdom, intelligence and developed self-awareness and are incapable of true love. The plot twists and marriages at the end of the play are rather arbitrary. The Duke, who, right up to the recognition scene, thought he was in love with Olivia, throws her like a hot potato and immediately falls in love with Viola. Sebastian accepts Olivia's offer to marry her a couple of minutes after meeting. Both deserve contempt. It is impossible to believe that they will make good husbands. Unlike Falstaff, these people gain their nasty little victories over life. Falstaff is defeated.

The three famous songs in Twelfth Night hold a kind of key to the play. The song "Where are you, dear, wandering?" goes back to the tradition "While Time Is Sleeping" and corresponds to the spirit of Andrew Marvell's hedonistic poem "To the Shy Lover":

Where are you, honey, wandering?

Wait, listen, you will know

As your faithful friend sings.

There is no need to run far

All paths lead to a meeting;

Grandfather and grandson will say this.

What is love? Love is not expected;

He who is cheerful, let him laugh;

Tomorrow is an unreliable gift.

To procrastinate completely. Happiness is fragile.

Kiss me, dove;

Youth is a torn commodity.

Act II, Scene 3.

The song is charming when taken as a joke, but what if you ask the question, "Who is the person whose feelings are really expressed in these verses?" A person who is truly in love will certainly not tell his beloved that love is transient. No young man seeking to seduce a girl will mention her age. Youth is a given. As I said in my lecture on the play Much Ado About Nothing, these lines, if read seriously, sound the voice of aging lust, the greedy desire to possess, which reflects the fear of death. Shakespeare literally imposes on us this reading, because the only listeners of the song, Sir Toby and Sir Andrew, are two old, pitiful drunks.

The song "Where are you, dear, wandering?" based, in part, on the tradition of courtly love. We find vestiges of this tradition in a poem by Alfred Hausman:

When would a higher power

I could trust the blood

Would save me from the grave

You are my love.

If I could just wave

Only by thought could I keep -

The world will be dust tomorrow

You would have stayed to live.

And the flow of feelings is immeasurable,

And my ardor did not subside.

You would become immortal

When would salvation be in them.

But everything is in vain, and at the right time

You should be kind

Before going to town

"Come, come, death", this most metrically sophisticated of all Shakespeare's songs, also refers to the courtly tradition, to the image of "heartless beauty":

Come, come, death

Let me be wrapped in a veil;

Fade away, fade away, firmament,

I am killed by a heartless beauty.

My shroud is yew foliage

Decorate.

I will meet my mortal lot,

Like happiness.

No flowers, no flowers, so

Burying only in a black coffin,

Without friends, without friends, into the darkness,

Without saying goodbye, put me down.

In the grave let me lie

Solitary

So that I don't come to sob over her

Enamored.

Act II, Scene 4.

This is not an "old, artless song" (II. 4), which, it would seem, the duke asked to perform. This is a complex reworking of a folklore theme. The song of courtly love, intended for the upper class, developed into a folk ballad, and then returned to its original, sophisticated form. This often happens with traditional material: ballads provide a theme for epic poems, courtly songs develop, through folk songs, into pastoral, and in America, psalms become negro spiritual hymns.

The song "Come, Come, Death" sheds light on the character of the duke. Shakespeare places it in the play in such a way that the song seems to be a reflection of the true personality of the duke. Next to him sits a disguised Viola, for whom the duke is not a hobby, but a serious passion. It would be hard for her to find out that a loved one is supportive of another, but it is even more painful to see that he loves only himself, and it is to such a painful discovery that Viola comes. In the dialogue that follows the song about the difference between male and female love, Viola, it seems to me, is not at all playful:

We talk more, we swear more;

But this is the ostentatious side:

Vows are generous and love is poor.

Act II Scene 4.

The Duke wants to be either a loyal Tristan, or a brilliant Don Juan. In the end, he marries the first woman who confessed her love to him.

The third of the famous songs in "Twelfth Night" is sung by the jester - at the end of the play, when everyone has already left the stage:

When I was tall and still from a top, It was just the wind and the rain, I fooled everything as I could,

When I reached adulthood,

There is just wind and rain,

A neighbor was hiding from the rogue,

But the rain, it gushes every day.

When - alas! - I took a wife,

There is just wind and rain,

I waged a war with her uselessly,

But the rain, it gushes every day.

When I became wretched and old

There is just wind and rain,

From beer in my head fumes,

But the rain, it gushes every day.

Our world began a long time ago

There is just wind and rain,

But all the same, since you find it funny

We want to make you laugh every day.

Act V, scene 1.

So the epilogue of the play is a meaningless poem. In other words, the jester claims that nothing in human life makes sense.

There is a significant difference between the life of an author and what he introduces into his writing. The more fully the author feels the chosen genre and the better he understands his own characters, the more significant this difference. The plays that follow Twelfth Night are dark. The characters in them bring death upon themselves (in contrast to the ancient tragedy, where the fall of the heroes was caused by external forces and where they did not have to atone for sin through suffering). Darkness is gathering over their heads. These are dark plays. On the contrary, in Shakespeare's last plays, the characters remain alive and change for the better through suffering.

Notes:

See G. Ibsen, Peer Gynt, act II, scene 6.

Translated by T.L.Schepkina-Kupernik.

A. Houseman, The Shropshire Boy, XXXIII. Translated by Maria Poptsova.

"Twelfth Night, or Whatever?" was first printed in 1623. It got its first name from the time of the performance (approximately in 1600 - 1602) - the twelfth night from Christmas, marking the end of the winter holidays, celebrated at the English court especially magnificently and merrily, with the obligatory development of performances for the entertainment of the public. The second heading indicates both the variety of comic situations and the characters that fall into them, and the motive of serving the main character, who stands at the center of the development of comedy (interrogative intonation inherent in the question of servants: "Anything?"). At the beginning of the 17th century, "Twelfth Night" had another name - "Malvolio" - after one of the most colorful characters bearing the speaking name "malevolent" (from the Italian "mala voglia").

Artistic time The comedy is notable for the swiftness of action: only a few days pass from Viola's arrival in Illyria (a country fictional by Shakespeare) to her betrothal to the Duke of Orsino. During this time, the girl manages to enter the location of the ruler of the country, fall in love with the impregnable Countess Olivia and find her twin brother, lost in the sea waves three months ago. The first day of the comedy is described in the first act, scenes one through three; the second day - from the fourth scene of the first act to the third scene of the second act; the third day (the most eventful) - from the fourth scene of the second act to the end of the play. Three days pass between the first and second day of action.

The plot of the plot it becomes Viola's decision to enter the service of the Duke of Orsino. The girl who has taken on a masculine appearance, without knowing it, opens a chain of touching and funny misunderstandings affecting both her own heart and the feelings of other people: Viola herself falls in love with her master, but cannot open up to him, since he sees his page in her - Caesario; the beautiful and proud Countess Olivia in mourning falls in love with Viola, not knowing that she is a girl; Olivia's stupid fan, Sir Andrew Agyuchik, begins to be jealous of his protégé to the upstart page and, under the influence of persuasion of the one who wants to have fun, and at the same time to get hold of a gratuitous horse, Sir Toby, challenges Viola to a duel. Salvation to the girl who does not know how and is afraid to fight comes from Captain Antonio - the savior and loyal friend of her brother Sebastian and the sworn enemy of the Duke Orsino. Viola's twin brother also becomes a participant in the general commotion, when at first he catches the eyes of an enamored Olivia and agrees to become her husband, and then gives a worthy rebuff to Sir Andrew and Sir Toby who attack him.

The second storyline, connected with the image of Malvolio, is tied up inside the already formed confusion with Caesario, when in the third scene of the second act the butler pisses off the good-natured but hot-tempered Sir Toby, along with the maid of honor Olivia - Maria. The fun-loving girl devises an excellent joke to put Malvolio in his place: tossing him "Letter to Olivia in love", after which, together with Sir Toby, he makes him look mad in the eyes of the Countess. Over the butler sent to the closet, the jokers come up with a new fun: they send the jester Feste to him in the form of Pastor Topas, who not only does not support the unfortunate prisoner in his suffering, but also confuses him even more, wanting to convince him of madness.

Art the image of Feste combines clownish and philosophical principles. The character does not so much amuse the heroes of "Twelfth Night" as shares with them his wise maxims in life. For example, to the Duke of Orsino, he describes the influence of friends and enemies on a person: “Friends praise me so much that they turn me into a donkey, and enemies directly say that I am a donkey; therefore, enemies help me to know myself, and friends fool my head. "... In the words of Feste there is both the necessary share of humor and witty truth, which other heroes of the comedy lack.

Sir Toby tries to be original, but he is only enough for elementary logical reasoning ( "Whoever has not made it to bed by midnight is like getting up early."). Sir Andrew cannot come up with anything smarter than the simplest sentences: "I only know that who goes to bed late, he goes to bed late"... The stupidity of this hero is visible in those moments when he is at an emotional peak. For example, Sir Andrew, offended at Sebastian-Caesario for the punches, threatens: "I will sue him for insult ... True, I hit him first, but that doesn't count.".

The butler Malvolio, who became a victim of a cruel prank, like the jester, is not devoid of intelligence and insight (which is only one of his words "Old age only harms the smart, but it improves the fools"), but this is where all his good qualities end. In the play, he is a type of narcissistic egoist who is so absorbed in his personality and secular conventions that even his own shadow teaches good manners.

Duke Orsino, Viola, Olivia and Sebastian, as noble people, are endowed mainly with noble character traits. Love strikes each of them instantly: Viola immediately falls in love with her master, Olivia from the very first meeting begins to have tender feelings for Cesario, Sebastian agrees to marry Olivia after the first conversation and even Orsino, seemingly flaming with passion, suddenly suddenly transfers his feelings from Olivia on Viola. The latter is explained by the fact that the duke, by virtue of his sensual nature, only felt the need to love someone, but really fell in love only after getting to know the person better: Caesario became his faithful friend, Viola - his beloved wife.

The comedy was played in February 1602 at the Middle Temple Law Corporation. L. Hotson suggested that it was played in January 1601 at a reception hosted by Elizabeth in honor of Orsino, Duke of Bracciano (L. Hot son, The First Night of "Twelfth Night", London, 1954). E. K. Chambers dates the comedy 1599-1600 years. It was first printed in the 1623 folio.

The entire plot concerning Olivia, Orsino, Viola and Sebastian is borrowed from Barnaby Rich's book Farewell to the Military Profession (1581), where it came from the Italian novel by Bandello through the French translation of Belfort.

The twelfth night after Christmas was the end of the winter festivities, and it was celebrated with a particularly tumultuous celebration. A comedy was timed to this occasion, for which Shakespeare did not look for a name, suggesting that the public consider it "anything". Critics, however, have attributed a more significant meaning to the name. The twelfth night of the Christmas holidays was like a goodbye to fun. The comedy turned out to be a "farewell to gaiety" for the playwright himself. After "Twelfth Night" there are "dark comedies" and the great tragedies of Shakespeare, he will not create any more funny comedy.

So Shakespeare says goodbye with gaiety. It seems that he really exhausted all the sources of the comic and now, creating this comedy, he repeats in a new combination much of what we have already encountered in his previous works. Comic confusion due to the twins' resemblance formed the basis of the plot of his first Comedy of Errors. The girl, dressed in a man's outfit, was in "The Two Veronese", "The Merchant of Venice" and "As You Like It". A character like Sir Toby Belch is akin to Falstaff, and Andrew Egyuchik is akin to Slender in Windsor Ridiculous.

A new take on Shakespeare's old comedic motif is the theme of the deceitfulness of the senses, which plays such an important role in Twelfth Night. The first hint of this was in The Comedy of Errors, where we saw Luciana, overwhelmed by the fact that Antifolus of Syracuse, whom she takes for his brother, declares his love to her. The motive of deceitfulness of feelings is even more developed in "A Midsummer Night's Dream": here Demetrius and Lysander first covet the hands of Hermia, and then, under the influence of witchcraft, fall in love with Elena. But the most striking manifestation of blindness under the influence of love spells was, of course, the famous episode in which the queen of the elves Titania caresses the weaver Basis, who is adorned with a donkey's head. In Twelfth Night, the deception is characteristic of Orsino and Olivia.

Finally, as in a number of other comedies, the action of "Twelfth Night" takes place in a somewhat unrealistic setting. The feelings of the heroes are quite earthly, and they themselves are creatures of flesh and blood, but the world in which they live is a fabulous Illyria for the British of Shakespeare's time. The beautiful name of the country, located on the eastern coast of the Adriatic Sea, sounded as exotic then as it does now. The news of this distant land was brought to England by sailors who arrived in London from all over the world. Shakespeare loved to choose fabulous, exotic locations for his comedies. Illyria, Sicily, Bohemia - these names sounded romantic to the public of the Shakespeare Theater, and for romantic stories he chose countries with such mysteriously tempting names.

It was necessary for this comedy, for a funny romantic fairy tale that Shakespeare wanted to tell the public. After all, his "Twelfth Night" depicts what does not often happen in life, and if it does, then only where the action of all fairy tales takes place and where we will never get.

In beautiful Illyria, people live even more carefree than in the Ardennes forest. They do not work here, do not fight, and only sometimes hunt. The main occupation of the population is love and entertainment. This is what everyone does, from the duke to the servants. The ruler of this fabulous country is not concerned with the affairs of his state. Orsino has a more important occupation: he is in love and delights his soul with dreams of his beautiful lover, listening to music.

Young Viola falls into this land of love and funny jokes immediately after a shipwreck, during which she lost her only loved one, brother Sebastian, like two drops of water in a face similar to her. And as soon as she finds herself on the shores of Illyria, she is immediately seized by the special atmosphere of this fabulous country. A brave girl loves adventure, and since fate has thrown her here, she is ready to meet any surprises. Having changed into a man's dress, she enters the duke's court as a musician. Her masquerade is both a means of self-defense, common in those days when a woman had to hide her weakness, and a manifestation of the heroine's adventurism, and a kind of "joke", a joke that gave rise to unexpected complications for her. And of course, she immediately falls in love, not only because she is young, but also because she got into the atmosphere of a courtyard filled with Orsino's dreams of beautiful love. She falls in love with him, and this love turns out to be a source of painful experiences for her.

The charm of her young musical soul instantly wins Viola's tender affection for Orsino, who feels that of all those around him, Cesario, as Viola called herself, is best able to understand his feelings. But for the duke she is a man, and although Renaissance manners encouraged platonic passion between people of the same sex, as evidenced by Shakespeare's Sonnets, Viola longs for a different love. But she is inherent in selflessness. Her love is not selfish. It will be bitter happiness for her if she manages to gain favor with Orsino from his beloved Olivia. Although the analogy is not complete, Viola's structure of feelings finds some correspondence in the same "Sonnets" by Shakespeare, the lyric hero of which also experienced the bitter satisfaction that two beautiful creatures, dear to him, fell in love with each other. One way or another, Viola is selflessly fighting for Olivia to reciprocate Orsino's feelings. She knows how to talk about love so beautifully that she achieves an unexpected result: Olivia falls in love with a girl in disguise. And here begins the comedy of the deceitfulness of feelings, which Shakespeare so loved to portray.

Of the three romantic heroes of the comedy, Viola is the only one who has not only a warm heart, but also a clear mind. She alone can see all the confusion of the situation that has arisen due to her dressing up. She belongs to those Shakespearean heroines, whose beautiful femininity is combined with the stability of feelings, boundless fidelity, the depth of heart experiences.

Orsino has a different emotional makeup. He, like Romeo before meeting Juliet, is not so much in love with the subject of his sighs as in love with love. His young soul opened up to a great feeling, but his love is like admiring the beauty of the experiences associated with this feeling. No wonder he needs music so much. She both nourishes and soothes his agitated emotions. His feelings are subtle, and the former courageous entertainment, like hunting, now does not give him pleasure. Communication with Caesario gives him much more, for in the tender soul of the page he finds consonance with his experiences. He himself does not even realize how important this friendship is for him. When in the finale of the comedy it turns out that Caesario is a girl, Orsino does not have to rebuild his attitude towards this young creature, which he had already fallen in love with for his responsiveness and concern for his happiness. Therefore, for him, the discovery of Viola's true personality is a joy, and he instantly gives her all his (thirsting for reciprocity.

If Orsino's whole life passes in anticipation of a great love that can fill his heart, then we get to know Olivia when, contrary to nature, she decided to deny herself all the joys of life. Having experienced great grief, the loss of her father and brother, Olivia wanted to get away from the bustle of the world, to close access to attachments, the deprivation of which causes suffering. But she is young at heart and, like Orsino and Viola, is also ripe for love. Her determination to lead a hermitic life is lacking for long. As soon as Caesario appears, curiosity first awakens in her, and then passion. A strong-willed nature, she is now ready to despise everything: both obligatory female modesty and inequality of position (Caesario, although "he" is a nobleman, is still lower in rank). And now she achieves reciprocity with the energy that Viola-Cesario showed in order to win her heart for Orsino.

We laugh as we watch the twists and turns of this funny story, but how pure and beautiful this laugh is! We know that Olivia is wrong, but we are not laughing at her, but at the whims of young hearts, blinded by an excess of boiling feelings in them. These feelings are beautiful and noble. The best mental abilities of a person are manifested in them, but even this best, it turns out, can put in a ridiculous position the one who is deprived of the opportunity to know what he or she is, to whom the heart's feeling is directed.

With Olivia, about the same thing happens with Orsino at the end of the comedy. Having met Viola's brother, Sebastian, she takes him for her beloved page and, reaching the limit of passion, invites him to get married immediately. The case brought her first to Viola, whose spiritual qualities captivated the imagination of the young countess. She fell in love with Cesario-Viola not for her appearance, but for her courage, character, perseverance and poetry of the soul. And then the chance produced a substitution: Olivia met Sebastian, not only by the face, but also by other qualities similar to her sister. He boldly went to meet Olivia's unexpected flow of passion and, caught up by it, unexpectedly suddenly found happiness, which others have been looking for all their lives and do not always find. This happens only in fairy tales, but after all, we are dealing with a fairy tale about how people seek happiness in love, and how it comes to them in a completely different way from what they expected. Orsino sought Olivia, and found happiness in Viola, Olivia longed for the reciprocity of Caesario-Viola, and found it from Sebastian; Viola suffered, not hoping for happiness, but it suddenly came to her; Sebastian was looking for a sister, and found a lover and a wife.

What is happening in the circle of Orsino - Olivia - Viola - Sebastian is a high comedy of pure and beautiful feelings. All of them are people of great spiritual nobility, maybe even too beautiful for the real world, but the ideal mental makeup of such people brings true beauty to life. Art, striving to raise a person to the true heights of humanity, truth and beauty, chooses such heroes in order to reveal through them what a person is capable of at his best.

But this is not that ethereal ideality that deprives the artistic image of credibility, but a high spiritual mood, combined with an amazing penetration into the real properties of the human heart. This is why Shakespeare remains realistic even when he immerses himself in the world of romance. And therefore, in this whole cute fairy tale, where beautiful feelings put people in ridiculous situations, we feel the undoubted truth.

Next to this world of high feelings is another, more earthly world, where a person appears not in such a graceful form, but still is not devoid of features that are pretty in their own way. This is the world of Sir Toby Belch and Mary. They are the center of it, as the center of the world of beautiful feelings is Viola.

Sir Toby Belch is not an Illyrian at all. He has not only an English name. He's your quintessential steak eater and fun-loving drinker like Sir John Falstaff. His wit is less than that of a glorious knight, but he loves a riotous life no less than him, and he also knows the value of a good joke.

Like Falstaff, Sir Toby believes that he was born for a fun and carefree life. But at birth, he did not get the funds for this. He is an impoverished nobleman and is forced to live by the favors of his niece Olivia. However, he is not at all embarrassed by the situation of the primer, for, like Falstaff, he is not even vaguely aware of the existence of morality. It would be just something to eat, and most importantly, a drink! We must, however, pay tribute to his ingenuity: he also has his own source of income, in addition to the grub received in the house of a rich niece. He is engaged in a craft that in London of Shakespeare's times was called "catching rabbits" - robbing naive provincials who came to the capital. Robert Greene, an enemy of Shakespeare, in several pamphlets described the techniques of this type of urban "hunting".

Sir Toby managed to pick up such a "rabbit" - this is the provincial dandy Sir Andrew Aiguchik, who came to London - excuse me, to Illyria - to show himself, to see people and at the same time to find a rich bride. Sir Toby took it upon himself to marry Olivia. Sir Andrew's sighs for Olivia is a funny parody of Orsino's courtship. Of course, Sir Toby was never deceived about the possibility of marrying this simpleton to Olivia. Sir Andrew had been deceived, and the deception cost him dearly. Sir Toby eats and drinks at his expense, lightening the wallet of the rustic provincial. We will meet later in Shakespeare another such situation - in Othello (Iago and Rodrigo), and there it ends tragically for the simpleton. But Toby is not Iago, not a villain, but a cheerful bon vivant, and Andrew gets off with the loss of his wallet and horse and a few blows from Sebastian.

To match the elderly carminative Sir Toby, the mischievous Maria. She is a master at inventions with which she amuses herself and others. She wants to marry Sir Toby; that would equate her with the mistress she serves. However, she shows prudence not so much in this, as in funny tricks that fascinate her much more matrimonial plans. Luring Sir Toby into marriage is no easy feat, for he is not one of those men who voluntarily give up the freedom to wander and have fun. If it even occurs to him to marry, then perhaps to such a mischievous girl like Maria, who herself is inexhaustible for funny tricks.

These people have an enemy - the butler Malvolio. His position is not high, but others can do enough harm. He is an enemy not only to them, but also to a pleasant life in general. Malvolio is a dry, prim, stern man, and there is something puritanical about him. He willingly supports Olivia in her desire to observe mourning and live, fenced off from the vanities of life. He looks with displeasure at Olivia's favor with Cesario. He is outraged by the fact that people want and can have fun, indulge in entertainment and love. He himself has one passion - ambition. The position of a butler gives him a small but tangible power over Olivia's household. True, they are very rebellious and he constantly has to fight with them, but he does not lose hope of taming them ...

Sir Gobi's merry company decides to teach Malvolio a lesson. A letter is thrown at him, which he takes for a declaration of love, allegedly sent to him by Olivia. Following the advice contained in the letter, he dresses up foolishly and behaves like the future husband of the countess and the ruler of the house.

At first, the prank that makes Malvolio believe that Olivia is in love with him seems just ridiculous and harmless. Gradually, however, the jokers reach the point that they mock Malvolio not without bitterness and anger. For the modern reader and especially the viewer, the joke begins to seem too rude and cruel, and it no longer gives pleasure. But we should not forget that Sir Toby and his company are really rude people, who like, in the English manner, the most merciless "practical jokes" - pranks from which a person can sometimes seriously suffer. The Shakespearean audience, for which executions were an interesting sight, looked at such jokes differently than we do. One of the jokes - the appearance of a jester in the vestments of a priest and the confession of Malvolio (IV, 2) - is a parody of Catholic rituals (it was allowed to make fun of Catholicism in Protestant England).

The image of Malvolio, comic at first, gradually takes on a different color. There is something pitying about him. This is on the one hand. On the other hand, his figure becomes sinister. And although in this world of fun and love he is powerless, the dark shadow cast by him reminds of the evil that exists in the real world, for, albeit in an understated form, he still possesses such features that darkened the Renaissance ideals. His ambition, malice, hypocrisy and vindictiveness were the vices that Shakespeare saw and showed as the sources of the tragic in life.

Except for Malvolio, all the characters in the comedy are kind, cheerful, sympathetic and cheerful. But there is another character that stands out among them. This is the jester Feste. We see him among the participants in a merry rally perpetrated over Malvolio, we hear his impudent jokes on those to whom he is obliged to obey. He is one of the wittiest Shakespearean jesters. We do not have to characterize him, because Shakespeare himself did it for us, having put the following words about Festus in Viola's mouth:

He plays the fool well. A fool will not overcome such a role: After all, you need to know those you are laughing at, And understand morals and habits, And grab your prey like a wild falcon on the fly. It takes a lot of cleverness to master this art.

(III, 1. Translation by E. Lipetskaya)

But this "clever fool" has a trait that distinguishes him from all other jesters in previous Shakespeare comedies. Feste is melancholy, and this is manifested mainly in the songs that he sings throughout the action: "Love is given to us for a moment ..." (II, 3), "Hurry to me, death, hurry ..." (II , 4). They tend to find melancholy in the song he sings at the end of the play - "When I was both stupid and small ..." (V, 1).

Meanwhile, the image of Feste, as we now know him, is the result of changes made to comedy in the course of its stage destiny at the Shakespeare Theater.

To understand the essence of the matter, one must remember the beginning of the comedy. Viola says she can sing and play musical instruments. As a musician, she enters the Orsino court. But in the current text she does not sing or play music anywhere. What is Shakespeare's "forgetfulness"? No. Initially, the role of Viola was played by a boy actor who could sing beautifully and play musical instruments. It is not hard to imagine that it was Viola who sang the sad song "Hurry to me, death, hurry ...", which Orsino liked so much. It matched both his sad mood, caused by unrequited love, and the feelings of Viola herself.

But time passed, the boy-actor lost the data necessary for this role, and the song had to fall out of the play. But a new circumstance helped here. The Burbage-Shakespeare troupe was joined by the wonderful comedian Robert Army, an excellent musician with a good voice. The song was passed on to him. Reading carefully into the text, it is not difficult to see how the scene was redone so that Feste was called to the court of Orsino and sang a lyric song. Apparently, at the same time, the closing song was added, also performed by Feste and bearing an ironic-melancholic character.

It is in this way, apparently, that melancholic motives penetrated into comedy, which not only gave a new color to the image of Feste, but also imposed a stamp on the entire play as a whole. But their importance should not be exaggerated. The lyricism introduced by the songs of the jester in the second act, on the whole, is in agreement with the romantic part of the plot. The closing song is full of the jester's irony over himself, and also, perhaps, over the characters in the play. All of them rejoice at their happiness, and Feste, like other Shakespearean jesters, laughs at romance and its illusions: "When I brought my wife into my house ... Everything in the house went up and down." All this is the usual clownery, which hardly has any serious overtones. Twelfth Night remains one of Shakespeare's most upbeat, upbeat comedies. In creating it, Shakespeare did not conceive any "farewell to gaiety." Only later it turned out that he had never again been able to write a single such funny comedy like this one.